Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

C

Jaume Cabrera (15th century), Spain

• Altarpiece from the Cathedral of Vic, tempera on wood panel, 75.5 × 123.5 cm 1400, Jaume Cabrera. Vic, Spain: Museu Diocesà, MEV 1948. Ref. Post (? date: 2, 366); Gudiol (1986: fig. 33 – col.); Rowland-Jones (1997: 9, fig. 5 – b&w). The Virgin and Child are surrounded by angel musicians singing and playing harp, vielle, lute and a cylindrical duct-flute (almost certainly a recorder, though only six finger-holes are visible. There is a great similarity to the altarpiece by Pere Serra (see below), though Cabrera's angel plays with the right hand uppermost. Some documentary evidence points to a 1400 dating for this painting (Rowland-Jones, pers. comm.)
• Virgin and Child with Angel musicians (early 15th-century), School of Jaume Cabrera. Madrid: Museo Arqueológico Nacional. Ref. Gudiol (1986: 454); Rowland-Jones (1997c: 15). Shows a duct-flute (flageolet or recorder) with lute, harp and singers.

Giuseppe Antonio Caccioli

• Holy Trinity, chalk & ink on paper, 34 × 23 cm, Giuseppe Antonio Caccioli (1672-1740). Brunswick: Herzog Anton Ulrich-Museum, Inv. Z 1180. Ref. Munich RIdIM (1999: BSm 332). Preparatory drawing for a ceiling painting of the Holy Trinity with angel musicians on the clouds. From left to right are four angels with tambourine, duct-flute (or shawm), and triangle with jingle rings.

Giacinto Calandrucci (1646-1707), Italian

• A Satyr, charcoal or chalk on paper, Giacinto Calandrucci (1646-1707). Düsseldorf: Kunstmuseum, FP 1934. Ref. Munich RIdIM (1999: Dük 185). The satyr could have a recorder, but the drawing is too impressionistic to identify it properly. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Jan Steven [Johannes Stephanus] van Calcar

• Portrait of a Musician, attributed to Jan Steven van Calcar (1499-1546/1550). Rome: Villa Spada, Picture Gallery, Room 2, No. 68. Ref. Anthony Rowland-Jones (pers. comm., 2002). A musician leans by a column, his left hand on a box on a table which also has on it some music and what may be a tenor recorder. The bell end is hidden behind the musician's fur-edged cloak, but the window/labium is quite clear and there are six finger-holes, in line, visible before the foot end is hidden. The mouthpiece, which looks rather stubby, is in shadow.

Jacques Callot

• Les Caprices (Florentine edition): Dancers with Flute and Tambourine (1617), etching, 5.72 × 8.26 cm, Jacques Callot (1592-1635). Augsburg: Städtische Kunstsammlungen, Inv. G21 746; Los Angeles: County Museum, M.61.2.10; Washington DC: Library of Congress, Dayton C. Miller Collection. Ref. Munich RIdIM (1999: Ask 157); Lancaster (2007: 19, fig.) A Commedia dell'Arte scene with two grotesque figures dancing and playing a tambourine and a duct-flute (flageolet or recorder).
• Shepherd Playing a Flute, etching, 6.35 × 8.73 cm, Jacques Callot (1592-1635). Los Angeles: County Museum, M.83.318.11. An elderly shepherd leans forward on his staff playing a duct-flute (flageolet or recorder). His dog defecates beside him and his goats graze in the distance.
• Temptation of St Anthony, second plate (1634), engraving, 36 × 33.3 cm, Jacques Callot (1592-1635). London: British Museum. Ref. Salamon (1972: 107 - b&w). St Anthony is dragged from his cave by a multitude of devils and fire-breathing dragons. Above him, a hellish band of devilish and beastly musicians bray and play lute, violin and a flared-bell pipe (possibly a duct-flute) in the unusual manner of the piper in Hieronymous Bosch's Garden of Earthly Delights. Perhaps he, like his forebear, is also a music critic!

Dionys [Denijs, Denis, Dionisio Fiamingo] Calvaert [Caluwaert]

• St Cecilia, Dionys Calvaert (1540-1619). Parma: National Gallery. St Cecilia looks heaven-ward, her hand on the keys of a portative organ. Beside her (bottom left) a cornett, a bow, and a viola stand side by side, with a timbrel and a ? tenor flute underneath. The recorder shows the beak, window/labium and finger-holes in line. It is cylindrical with a wide-bore bell-flare below the 7th hole. Above, angel musicians sing and play lute, cornett, and trumpet. Notes by Anthony Rowland-Jones (pers. comm.)

Pier Paolo Calzolari (1943-)

• Un Flauto dolce per farmi suonare (1968), sculpture, 46 × 88 cm, Pier Paolo Calzolari (1943-). Munich: Sammlung Goetz. Exhibition: The Italian Metamorphosis, 1943-1968, Guggenheim Museum Ref. Moeck, Tibia 1/98 (1968). A small modern style recorder lies on tablet on which the title of the piece appears in relief. From the tablet a wire snakes towards a loudspeaker. This should be compared with Titian's comparatively paltry efforts. What a long way we've come since the 16th century!

Andrea Camassei

• A Shepherd with Nymphs, Amoretti and Goats in a Landscape, oil on canvas, 109 × 135 cm, circle of Andrea Camassei (1602-1649). Knightsbridge: Bonahams Sale 16860 - Old Master Paintings, 28 October 2009, Lot 50. Watched by two admiring nymphs, two tumbling amoretti and a goat, a shepherd sits on a rock playing a flared-bell pipe. Although there is no sign of a beak or window/labium their is no reed, either, and the cross fingering and bent thumb are very suggestive of recorder playing.

Luca Cambiaso

• Parnassus with a Soldier Entreating Apollo, ceiling fresco, Luca Cambiaso (1527-1585). Genova: Palazzo Pessagno, Salita S.Caterina. Ref. Suida-Manning & Suida (1957: fig. 66 – b&w). A warrior kneels before Apollo who is seated on a wooded hillside holding his lyre. In the foreground the Muses watch and converse amongst themselves, several holding instruments including straight trumpet, tambourine (with pellet bells and jingles), and a narrow cylindrical duct-flute (viewed side-on, the beak clearly depicted). Underneath an open music book, one Muse holds a larger recorder only the beak of which can be seen. In the bottom right-hand corner lies a syrinx of the duct-flute kind; at the bottom left stands a viola da braccio.
• The Nine Muses (1569), pen, ink and pencil drawing, Luca Cambiaso (1527-1585). Stockholm: Nationalmuseum, NM H 1569/1863. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). The Muses entertain each other with music played on horn, straight trumpet, viol, harp, bagpipe and duct-flute. One of the duct-flutes is sketchily drawn and is of at least tenor size; it has no beak, but there are two incised rings close together near the mouthpiece and a mark indicating a window/labium; otherwise the instrument has no distinguishing features. A second cylindrical duct-flute on the ground, however, has a beaked mouthpiece, window/labium, and a finger-hole near the end of the instument beneath which is an incised ring and short bell flare. The artist has added in pencil where the finger-holes woul be if they were visible (as if the instrument were transparent). The first of these pencilled finger-holes is above the windway opening, and the second is half way down the labium! The third is where the first finger-hole should correctly be. After a gap, the fourth, fifth and sixth pencilled rings are correctly placed for the lower hand, with the visible hole (that is in brown ink) shown just below the last of the pencilled holes. All this suggests that the artist was rather unclear about what the details of the instrument actually looked like. Above the date 1569 can just be made out another date which is probably 1529. Notes by Anthony Rowland-Jones (loc. cit.)

Adam Camerarius

• Family Portrait, oil on canvas, 138 × 172 cm, Adam Camerarius (op. 1644-1685). Darmstadt: Hessisches Landesmuseum, Inv. GK 874. Ref. Munich RIdIM (1999: DAhl 43). Family portrait with parents, grandparents and seven children. On the far left, a boy holds a recorder of soprano/alto size with a marked bell fare. On the far right, another boy dances with a tambourine.

Domenico Campagnola

• Shepherd playing his Pipe with Landscape (before 1550), pen and brown ink drawing on paper, 40.4 × 68.5 cm, Domenico Campagnola (1500 – after 1581). Paris: Louvre, Print Collection, Inv. 4754. Ref. Joconde Website (1999). A pastoral scene against a landscape which includes a valley, a village, fields, peasants, forest and mountains. A shepherd, seated amongst his sheep, plays a duct-flute (flageolet or recorder). Not seen. There is an engraving of this work by Caylus.
• Triumph of David, Domenico Campagnola (fl. 1500-1581). Berlin: Staatliche Museen, Kupferstichkabinett. Ref. Zeitschrift für Kunstgeschichte 19 (1966: 335); Rasmussen (1999c). "The Welcoming Women play generic woodwind (recorder?) and two tambourines" (Rasmussen, loc. cit.)
• Ascension of Christ, fresco, Domenico Campagnola (fl. 1500-1581). Padua: Chiesa del Convento de Praglia. Ref. Grossato (1966: 186-187, fig. 121); Rasmussen (1999c). "Putti play lyre, panpipes (?), recorder (held) and tambourine" (Rasmussen, loc. cit.)

Giulio Campagnola

• Shepherds in a Landscape, Giulio Campagnola (ca 1482-1516). Whereabouts unknown. Ref. Martineau & Hope (1982: 310-312, 250, pl. 7). Completed by Domenico Campagnola after Giulio's death. Shows four shepherds seated with some sheep. One plays a hurdy-gurdy, another plays an ambiguous cylindrical pipe (possibly a recorder), and a third holds a long-necked bowed stringed instrument.
• Shepherds in a Landscape (ca 1517), engraving, Giulio Campagnola (ca 1482-1516) & Domenico Campagnola (ca 1500-1564). Ref. Turner (1966: fig. 55); Burlington Magazine 109: pl. XLV (1967); Burlington Magazine 134: xxi (1992); Levenson et al. (1973: 41); Rasmussen (2003). Shows four shepherds seated with some sheep. One plays a hurdy-gurdy, another plays an ambiguous cylindrical pipe (possibly a recorder), and a third holds a long-necked bowed stringed instrument.
• Shepherds in a Landscape (ca 1517), engraving, Giulio Campagnola (ca 1482-1516) & Domenico Campagnola (ca 1500-1564). Ref. Hind Early Italian Engraving 61(2): pl. 774 (?date); Rasmussen (2003). A variant of the above, reversed and with a different background and the addition of two cows. Not seen.
• The Old Shepherd, plate 7.9 × 13.5 cm, Giulio Campagnola (ca 1482-1516). New York: Metropolitan Museum of Art, 37.3.11. Ref. Hind Early Italian Engraving 5(8): 11 (?date); Archiv Moeck. In front of a rambling wooden house, watched by a goat and a sheep, an old shepherd reclines with an ambiguous pipe in his mouth.
• Young Shepherd, engraving, 13.2 × 7.8 cm, Giulio Campagnola (ca 1482-1516). Cincinnati: Art Museum, 1943.88, Hind 5, no 10 11. Ref. Archiv Moeck. A young shepherd reclines on a bank before a large rambling house; in his hand is a duct-flute (possibly a double recorder).
• Landscape with a Shepherd Couple (2nd half of the 16th century), drawing in pen and brown ink, after Giulio Campagnola (ca 1482-1516). Paris: Louvre, Inv. 4780. Ref. Joconde Website (1999). Against the background of a castle by a river with a water mill, a shepherd and sheperdess play guitar and duct-flute (flageolet or recorder). Not seen. There is another copy by Watteau (1684-1721) in the Musée des Beaux Arts et d'Archéologie, Besançon.

Pedro Campana or Petrus Campania or Companicusis or Peter Campener – see Peter de Kempener

Jacob van Campen [or Kampen]

• Hermes lulling Argus to Sleep (ca 1635), oil on canvas, 204 × 194 cm, Jacob van Campen (1595-1657). The Hague: Mauritshuis. Ref. Haak (1984/1996: 258, pl. 546); Griffioen (1988: 438-439), Rowland-Jones (1998c: 16; 1999; pers. comm. 2001); Blanker et al. (1999: pl. 4 – col.); Rijksbureau voor Kunsthistorische Documentatie 10645 (2001); Website: Museum Boijmans Van Beuningen (2001). Hermes (as a young boy) lulls Argus to sleep by playing on a flared-bell, soprano recorder (the lowest little finger down, but no finger-holes or window/labium actually visible), surrounded by sleepy dogs and beasts, including a white heifer (Io). Comtemporary photographer Vik Muniz has made an amusing parody of this work in his Junk Series – see here.

Peter Campener – see Peter de Kempener

Campi

• Merry Company (ca 1600), oil on canvas, 130 × 49 cm, attributed to the school of Campi. Location unknown: sold at the Hôtel des Ventes, Cannes, 10 April (1990). Ref. Gazette de l'Hôtel Drouot No. 14, 6 April (1990). Around a table on which there is food on plates and a guitar, a group of men drink whilst one plays a slender, flared-bell pipe which may represent a recorder, although the bell is very large for such a slender instrument.
• Decorated ceiling, Campi. Location unknown. Ref. Paolo Biordi (pers. comm., 2000). A tortured-looking boy lies crouched beside a pile of instruments which include a viol (only the pegbox, fretted neck and part of the body visible), a hunting horn, a harp (the arm of which is visible) and a cylindrical pipe (possibly a recorder, though only the lower section and three finger-holes are visible).

Bernadino Campi (1522-1591)

• Ceiling decoration (1583-1584), fresco, Benardino Campi (1522-1591). Sabbioneta: Palazzo del Giardino, Camera dei Miti, ceiling. Ref. Charles Rowland-Jones (2006, pers comm. ex Anthony Rowland-Jones). A series of interlocking panels in which a strutting cupid (holding Mercury's caduceus and winged helmet) is surrounded by birds and figures from classical myths including Daedalus and Icarus, Arachne and Minerva, Saturn and Filira, and Apollo and Marsyas. The latter holds a shepherd's pipe, so often represented by a recorder. The instrument is cylindrical but otherwise featureless. The Palazzo del Giardino was built as a pleasure palace between 1578 and 1588 by the Gonzagas, starting with the main block and then the Galleria. The Camera dei Miti was designed by Fornarino (Givovan Francesco Bicesi) with gilded stucco work by Martiri Pesente. Campi and his team decorated the seven rooms in the Garden Palace between 1583 and 1584.

Giulio Campi

• Apollo and the Muses, oil on panel, 40 × 97 cm, Giulio Campi (p. 1507 – 1573). Parma: National Art Gallery, Inv. 191. Ref. Villa I Tatti, N 2740 A6 (1997); Riccomini et al. (1997, 2: 177, pl. – col.); Paolo Biordi (pers. comm., 2000). Apollo, seated with his lyre, holds court amongst the Muses most of whom hold or play musical instruments. One plays an ornate and exotically shaped viol, another a violin; one holds a syrinx with seven tubes, another a straight trumpet. Two (one on each side of the painting) hold recorders: that on the left holds hers by her side in her left hand, her right hand holding a music book steady in her lap; that on the right holds her instrument two-handed as if to play it. Both instruments are of cylindrical construction, the beak and window clear; on the left-hand instrument four of the finger-holes for the right hand are visible, the lowest slightly offset; on the right-hand instrument the fingers are deployed somewhat haphazardly, though again the lowermost hole seems slightly offset to the others.

Peter Candid [Pietro di Pietro Candido, Pieter de Witte] (ca 1548-1628)

• Virgin and Child with St Anne (ca 1590), oil on canvas, 226 × 159.1 cm, Peter Candid (ca 1548-1628). Boston: Museum of Fine Arts, 1980.72. Above the central scene angel musicians sing and play harp and vielle; in the top right hand corner a putto plays a duct-flute. The latter's hand position is suggestive of recorder playing, and a window/labium is just visible.

Antonio Canova

• The Muse Euterpe, Antonio Canova (1757-1822). Asolo: Civic Museum. Ref. Anonymous (2000). Euterpe holds a shawm with a pirouette in her right hand and two curious keys. There is no bell flare. In her left hand she holds an alto pipe, probably a duct-flute (possibly a recorder) , which seems to have a beaked mouthpiece and a very slight bell and bore flare. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Terpischore and Euterpe, Antonio Canova (1757-1822). Possagno: Civic Museum. Ref.Anonymous (2000). Terpsichore dances with two cupids one playing a harp bigger than himself on his shoulder. Euterpe holds a shawm with a pirouette in her right hand and two curious keys. There is no bell flare. In her left hand she holds an alto pipe, probably a duct-flute (possibly a recorder) , which seems to have a beaked mouthpiece and a very slight bell and bore flare. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Simone Cantarini, 'Il Pesarese'

• Mercury and Argus, Simone Cantarini, 'Il Pesarese' (1612-1648). Location unknown. Ref. Bartsch (1854-1870, 19: 142.31). Mercury reclines on a bank playing an alto-sized flared-bell duct-flute (window/labium and several finger holes visible) with his left hand, holding his caduceus in his right. Argus reclines against a tree, looking very sleepy. In the background are Argus' cattle.
• Mercury and Argus, Simone Cantarini, 'Il Pesarese' (1612-1648). Stockholm: Nationalmuseum, NM52. Ref. Anthony Rowland-Jones (pers. comm., 2000). Mercury plays a recorder-like instrument of tenor size to the listening Argus, who is not yet drowsy. The mouthpiece is narrow and the whole instrument outwardly gently conical with a greater expansion at the bell end. All fingers are down except the left hand lower little finger, but this is in playing position with the hand much too near the bell end for a shawm. Neither finger-holes nor window/labium are visible. The context suggests a recorder. Notes by Rowland-Jones (loc. cit.)
• Mercury and Argus, engraving by Gio. Jacomo Rossi, after Simone Cantarini, 'Il Pesarese' (1612-1648). Ref. Warburg Institute, London (2000). Mercury plays to Argus on a longish thin pipe (possibly a recorder) with a flared bell, two finger-holes of which can be seen but no window/labium. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Mercury and Argus, engraving, 25.2 × 30 cm, Simone Cantarini, 'Il Pesarese' (1612-1648). Michegan: The University of Michigan Museum of Art, Accession No. 1961/2.18; New York: Metropolitan Museum of Art, 26.70.4[142]. Ref. Websites: University of Michigan Museum of Art; Metropolitan Museum of Art (2005). Argus and his dog recline drowsily amongst the trees as Mercury pipes on a flared-bell recorder, sitting on a rock with his caduceus beside him and his sword almost hidden beneath his robe. Io (as a heifer) glances back at them from her pasture in the background.
• The Flaying of Marsyas, oil on canvas, Simone Cantarini, 'Il Pesarese' (1612-1648). Ref. Gabrius Data Bank (2000 - col.) Marsyas bound with his arms outstretched, screams as Apollo flays the skin from his shoulder. Vaguely depicted at the bottom left is Apollo's lyre; and at the bottom right lies what must be Marsyas' pipe, the window/labium of which may just be visible.

Gustav Jakob Canton (1828-1885), German

• Boy with a Flute, painting, Gustav Jakob Canton (1828-1885). Mainz: Mittelrheinisches Landesmuseum, Inv. 0/595. Ref. Munich RIdIM (1999: 162). Catalogued under 'blockflöte' rather than 'flöte'. Not seen.

Estella Louisa Michaela Canziani (1887-1964)

• The Piper of Dreams (1914), watercolour on paper, 46.9 × 34.2 cm, Estella Louisa Michaela Canziani (1887-1964). Private Collection. Ref. Recorder & Music Magazine 25(2): cover - col. (2005); Bridgeman Art Library, Image MAA 199091 (2009 - col.) Originally titled 'Where the Little Things of the Wood Live Unseen'. Surrounded by fairies, a wistful country boy in a feathered hat, sits beneath a tree playing a slender, cylindrical pipe, probably a duct-flute (flageolet or recorder). This picture was amongst the most popular paintings of the Victorian/Edwardian period, and was a favorite among English soldiers in the trenches of World War I. There is a study for this painting in pastel at the Victoria & Albert Museum, London, 47 x 36 cm, bequeathed by Hilda Amelia Lake-Barnett through The Art Fund.

Francesco Capella, called 'il Daggiù'

• Duet (18th century), Francesco Capella (1711-1784). Bergamo: Casa Mazzocchi. Ref. Angelo Zaniol (pers. comm., 2003). A young woman plays a lute and a man plays a baroque alto recorder, very clearly depicted.

Michelangelo Merisi da Caravaggio

• Musical Trio (16th century), guache, 92.5 × 127.5 cm; attributed to Michelangelo Merisi da Caravaggio (1571-1609/1610). London: Duke of Devonshire's Collection. Ref. La Rassagua Musicale 5 (Sept, 1930); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). Three carousing musicians sing and play lute and a soprano flared-bell recorder.
• Concert, engraving, 43 × 53.3 cm, engaving by Thomas Chambars (ca 1724-1789, Irish), after Michelangelo Merisi da Caravaggio (1571-1609/1610). The Hague: Gemeentemuseum. Ref. Paris RIdIM (2000). From the original picture attributed to Michelangelo da Caravaggio in the collection of the Duke of Devonshire (see Musical Trio), though the lute in the original has become a guitar and the recorder an ambiguous pipe. Three carousing musicians sing and play guitar and a small flared-bell pipe (possibly a duct-flute).
• The Lute Player, oil on canvas, 101.5 × 129.5 cm, Michelangelo Merisi da Caravaggio (1571-1609/1610). New York: Private Collection. Ref. Connoisseur 145 (1960); Scherliess (1972: pl. 50, as by Carlo Saraceni); Christiansen (1990: front cover, 8 & 34-35 - col.); Camiz (1994: 62, fig. 4); Ferino-Pagden (2001: 104); Exhibition Catalogue: Colori della musica …, Rome (2000-2001: 19); Mahon (1990); Postcard: Royal Academy of Arts, London (2001); Exhibited: The Genius of Rome, Royal Academy (2001); Anthony Rowland-Jones (2001: 15); Visual Collection, Fine Arts Library, Harvard University, 372.Sa71.90[a], as by Saraceni (2002); Rasmussen (2002, Lute). A young woman plays a lute, her music books on a table in front of her with a flared-bell recorder (with paired holes for the lowermost finger), violin, and miniature spinet. There is a copy of this by Carlo Magnone in the Palazzo Barberini, Rome. The music is clearly legible as Madrigals xxxii and xxiii by Arcadelt. A replica of this work appeared on the London art market in 1960 (Connoisseur, loc. cit.)
• The Concert (ca 1595), oil on canvas, 92.1 × 118.4 cm, Michelangelo Merisi da Caravaggio (1571-1609/1610). New York: Metropolitan Museum of Art, 52.81 Painted for the artist's first great patron, Cardinal Francesco del Monte. Three musicians play lute and a pipe (probably a cornetto) whilst a third reads a score, his violin beside him. Behind them, Cupid picks at some grapes. Although it was described by contemporaries as simply "una musica" (music piece), it is an allegory of music. Cupid, "who is always in the company of music" (Vasari), is shown at left with a bunch of grapes, "because music was invented to keep spirits happy, as does wine" (Ripa). The costumes have a vaguely classical look. The surface of the picture is worn and there are extensive losses in the back of the right-hand figure (the piper, unfortunately) and in the music and the violin. A copy sold in London in 2006 (see below) was used by the Metropolitan Museum to reconstruct the damaged areas of their own painting, notably the upturned sheet of music that had been largely destroyed. Another copy another copy was sold in Berlin in 1901.
• The Musical Party (ca 1595), oil on canvas, 94.7 by 125 cm, follower of Michelangelo Merisi da Caravaggio (1571-1609/1610). Location unknown: auctioned by Sotheby's (London), Sale LO6032, Old Master Paintings Day, 6 July 2006, Lot 219 (sold.) Ref. Website: Sotheby's (2006: Lot 219); Gabrius Databank (2007 - col.) This composition repeats that of the painting commissioned from Caravaggio by Cardinal del Monte in 1594, today in the Metropolitan Museum of Art, New York. The compositions are almost identical, with only minor differences between the two versions (such as the decoration of the crimson drapery of the principal musician). Three musicians play lute and a cornetto whilst a third reads a score, his violin beside him. Behind them, Cupid picks at some grapes. Although it was described by contemporaries as simply "una musica" (music piece), it is an allegory of music. Cupid, "who is always in the company of music" (Vasari), is shown at left with a bunch of grapes, "because music was invented to keep spirits happy, as does wine" (Ripa). The costumes have a vaguely classical look.
• Portrait of a Recorder Playing Boy in a Plumed Hat, oil on canvas, attributed to Michelangelo Merisi da Caravaggio (1571-1609/1610). Location unknown. Ref. Gabrius Databank (2002). A portrait of a boy in a plumed hat, a cloak wrapped loosely around his shoulders, playing an alto-sized flared-bell recorder with a metal-sheathed beak. Auctioned 2 June 1993, sold (Gabrius, loc. cit.)

Taborda Vlame Frey Carlos (fl.1517-1540), Dutch.

• Assumption of the Virgin: Musical Angels, Taborda Vlame Frey Carlos (fl.1517-1540). Lisbon: National Museum of Ancient Art. Bridgeman Art Library (2005, Image XIR 170593). Angels playing trombone, trumpet, pipe (possibly a recorder) and shawm.

Giovanni Cariani = Giovanni Busi

Vittore Carpaccio

• A Monk and three Musicians in a Room, pen and brown ink wash on blue paper, 18.9 × 27.7 cm, Vittore Carpaccio (1460/5-1525/6). London: British Museum. Ref. Royalton-Kisch et al. (1996: 44-45, pl. 16); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). Two of the musicians play lutes; another plays a rebec. On the wall behind hang a viola da braccio and a timbrel; On a bench before the players lie a cylindrical duct-flute (probably a recorder) and a curved instrument (possibly a cornett), both very sketchily drawn.

Adriaen Carpentier (op. 1739-1778), French

• The Player, oil on canvas, 71 × 57 cm, Adriaen Carpentier (op. 1739-1778). London: Sotheby's, Lot 34, auctioned 6 April 1993. Ref. Sotheby's Catalogue (April 1993: 54, pl. 34). "Half-length [portrait of a man], wearing a grey coat decorated with red and blue ribbons, a recorder in his right hand" (Sotheby's, loc. cit.) The head of the instrument is out of frame and the single standing key seems to indicate that a flute was intended rather than a recorder.

Giulio Carpione [Carpioni]

• Bacchanal, Giulio Carpione (1611-1674). Milan: Sforza Castle. Bacchus, at the centre, plays a pipe (possibly a duct-flute) listened to by two women, two men, a boy, and a man in drunken stupor. A centaur clashes cymbals at the left. Notes by Anthony Rowland-Jones (pers. comm.)
• Pan's Music Lesson (1668-1671), oil on canvas, 68 × 210 cm, Giulio Carpione (1611-1674). Paris: Louvre Inv. RF 1983-52. Ref. Lallement & Devaux (1996: 237-238, pl. 3 – b&w); Joconde Website (1999). Pan mellows out playing a pipe (his swollen cheeks suggesting a shawm rather than a duct-flute) surrounded by men and women in various stages of undress, some asleep. Two putti (one holding a slender flared-bell pipe) chase a naked women banging a timbrel; another dozes, holding what looks very much like a duct-flute (flageolet or recorder) in his crossed arms. An embarrassed statue (?Aphrodite) looks aside. If only all music lessons were like this! There is clearly a relationship between this work and the the same artist's Nymphs and Satyrs around a Statue of Priapus (see below)
• Nymphs and Satyrs around a Statue of Priapus 92.5 × 71 cm, Giulio Carpione (1611-1674). Location unknown: sold Sotheby's, London, 5 March 1969. Ref. Sale Catalogue (1969: No. 22); Paris RIdIM (2000). At the foot of a statue of Priapus (looking somewhat haughty), a satyr (?Pan) mellows out playing a flared-bell duct-flute, probably a recorder despite his somewhat swollen cheeks, since the window/labium seems to be visible, and all fingers of the lowermost (left) hand seem to be deployed covering their holes. On a plinth behind him a baby satyr dances. In front a putto bangs two cymbals together, a second lies fast asleep in front of an enormous tambourine, and a third dozes in the bottom left-hand corner. Two naked women look on. In the background a second satyr plays a tambourine whilst a third semi-clad woman dances; beside them a fourth putto claps his hands and dances. There is clearly a relationship between this work and the the same artist's Pan's Music Lesson (Louvre, see above).
• Cupid triumphant over War, canvas, 72 × 57 cm, Giulio Carpione (1611-1674). Location unknown: sold St Germain-en-Laye, 9 December 1990. Ref. Gazette H.D. (30 November 1990: 343); Paris RIdIM (2000). Cupid leans on a drum playing a slender flared-bell recorder, the beak, window/labium of which are clearly depicted. He plays right hand uppermost, with all fingers of the lowermost (left) hand covering their finger-holes. Behind the drum the bell of what appears to be a shawm projects, the rest of the instrument hidden behind Cupid's back.
• Mercury and Argus, oil on canvas, circular, Giulio Carpione (1611-1674). Ref. Gabrius Data Bank (2000 - b&w). Playing a long cylindrical pipe (probably a duct-flute), Mercury lulls a drowzy Argus to sleep.
• Saints Cassia, Innocenza, Gaudenzia and Neofita (ca 1665-1670) ca, oil on canvas, Giulio Carpione (1611-1674). Vicenza: Basilica dei SS. Felice e Fortunato Ref. (Brugnolo & Cevese (1993: 68 - col., detail). Two putti play rebec and a slender pipe. No details of the latter can be seen, but the little player's hands are well disposed for recorder-playing. In particular, the little finger of the lowermost (right) hand is characteristically stretched as if to cover its hole.
• Bacchanal, Giulio Carpione (1611-1674). Reims: Musée des Beaux Arts. Ref. Anthony Rowland-Jones (pers. comm., 2003). A satyr at the centre plays an alto-sized duct-flute, probably a recorder. Most of the beak is in his mouth, and it has a long window/labium. The instrument is near-cylindrical with a slight bell flare. The player's right hand is lowermost with the little finger lifted. Fingers 3 and 4 of the left hand are also lifted, hiding any finger-holes beneath. No lower finger-holes are visible. other instruments depicted include tambourine, a large frame drum, and a very thin double-pipe played by a naked boy as he dances.
• Pan and a Nymph (1666-1671), oil on canvas, 68.5 × 53 cm, Giulio Carpione (1611-1674). Venice: Ca' Rezzonico - Museo del Settecento Veneziano, Sala 4, Collezione Martini Inv. 53. Pan plays his pipe to a seated nymph, watched by a putto who reaches for something in an enormous jar. At the nymph's feet is a large tambourine (with jingle rings). The pipe is cylindrical and slender, but Pan's fingers and thumb seem well disposed for recorder playing, despite his puffed out cheeks.
• Bachanal, oil on canvas, tondo, 80.5 × 80 cm, Giulio Carpione (1611-1674). Freiburg: Städtisches Augustinermuseum, Inv. 11476. Ref. RIdM Munich (2009, FRa 11). In a landscape putti gambol while a youthful Bacchus wine glass in hand, sits astride a barrel mounted with architectural set pieces (urn, etc.), more carousing putti and juvenile satyrs, one of whom is blowing on a small duct-flute and holds a second pipe in his other hand. Not seen.

Agostino Carracci

• Annunciation, oil on canvas, 48 × 35 cm, Agostino Carracci (1557-1602). Paris: Louvre, Inv. 182. Ref. Joconde Website (1999). In the clouds above Gabriel (who has just surfed in on his own cloud) and Mary (who has dropped her washing in alarm), putti and angel musicians sing and play lute and duct-flute, almost certainly a recorder (given the right hand playing position with the lowermost finger hovering above its hole).
• History of Cremona: The Goddess Cremona (1589), engraving by Ant. CAM.IN after Agostino Carracci (1557-1602). Ref. Bartsch (1854-1870, 18: 137.193 N.Y.) At the left of the goddess, by her feet, are musical instruments including a duct-flute of alto/tenor size which shows four finger-holes before the rest of the instrument is hidden behind a lute. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Annibale Carracci

• Title unknown, Annibale Carracci (1560-1609). Ref. Burlington Magazine (1998). Includes a recorder-playing angel whose smallish instrument has double holes for fingers seven and three, a solution found in some instruments to the g# problem. Note by Anthony Rowland-Jones, pers. comm. (1999).
• Baptism of Christ (1585), Annibale Carracci (1560-1609). Bologna: Church of St Gregory. Ref. Cooney & Malafarina (1976). In the top half of the picture, beneath the figure of God the Father stretching across, are six angel musicians playing viola, ? violin, flute, lute, viol and recorder. The latter is of canto size, with a bell flare. The beak is clear, but the window/labium is obscured. The finger-holes are not visible, but only the third finger of the upper (left) hand is raised; all the others, including the little finger of the right hand are on the instrument. The open bore-end shows that most of the flare is due to the thickening of the wood. The playing position is perfect. Notes by Anthony Rowland-Jones, pers. comm. (1999).
• Assumption of the Virgin (ca 1587), Annibale Carracci (1560-1609). Dresden: City Museum. Ref. Cooney & Malafarina (1976); Anthony Rowland-Jones (pers. comm., 2001). An angel at the top left plays an alto-sized duct-flute, possibly a recorder. The mouthpiece is beaked, the window/labium is quite clear and although no finger-holes are visible and the hands are rather high up they are in excellent recorder-playing position, especially the little finger of the left (lowermost) hand. The instrument is cylindrical, except for a rather sudden but slight bell fare at the end. The detailing is clear enough to see the bore opening. Notes by Anthony Rowland-Jones (loc. cit.)
• Venus Asleep with Cupids (1602-1603), oil on canvas, 190 × 328 cm, Annibale Carracci (?1560-1609). Chantilly: Musée Condé, Inv .63. Ref. Tiziano et Venezia (1980; fig. 208); Cooney & Malafarina (1976); Paris RIdIM (1999); Joconde Website (1999). One of a series of pieces commissioned by Odoardo Farnese for the Farnese Palace, Rome. A mythological scene in which the sleeping Venus is surrounded by putti who dance and play tambourine and duct-flute (probably a recorder to judge by the hand, with the window/labium and bell-end clearly shown) against the background of a landscape. The instrument is held with the right hand down and all holes are covered. Notes by Anthony Rowland-Jones (pers. comm.)
• The Angel Gabriel in Glory with Angel Musicians and Cherubim, oil on canvas, 249 × 212 cm, Annibale Carracci (?1560-1609). Chantilly: Condé Museum, Inv. 69. Ref. Joconde Website (1999). A biblical scene in which the Angel Gabriel is surrounded by angel musicians singing and playing lute, timbrel and recorder -- all fingers of the player's lowermost (right) hand are covering their holes.
• Coronation of the Virgin (?1609), pen & brown ink and brown wash with white highlights, 46 × 47 cm, Annibale Carracci (?1560-1609). Dijon: Musée des Beaux-Arts, Inv. CA 785. Ref. Posner (1971: pl. 94b), Paolo Biordi (pers. comm., 2000); Anthony Rowland-Jones (pers. comm., 2004). Painted in Rome. The Virgin ascends into Heaven and is crowned. Beside and beneath her, on clouds, angel musicians play double bass, organ, viol, lute, flute, cello, an ubo (unidentified bowed object) and duct-flute (probably a recorder). Two cherubs at the very front centre sing from music. The duct-flute is at the lower left and is of alto or tenor size, held at the lips but not played. Its sideways position shows a marked beak, although the window/labium is not visible. The right hand is lowermost with all fingers down, but two finger-holes show close to the bell flare of this otherwise cylindrical instrument.
• Coronation of the Virgin (p.1595), oil on canvas, 117.8 × 141.3 cm, Annibale Carracci (?1560-1609). New York: Metropolitan Museum of Art, Inv. 1971.155. Ref. Web-site: Metropolitan Museum of Art (2002, fig. - b& w); Exhibition: Giovanni Lanfranco: La Vertigine del Barocco, Palazzo Venezia, Rome (March - July, 2002); Anthony Rowland-Jones (pers. comm., 2002); Constance Old (via Amanda Pond 2002, pers. comm.) Angels sing and play viola, viols, mute cornett, lute and (at far right in shadow) a small pipe which could be a recorder. The pipe is cylindrical before the bell where half the lower right-hand is completely hidden.
• Adoration of the Shepherds (1597-1598), oil on canvas, 103 × 85 cm, Annibale Carracci (?1560-1609). Orléans: Musée des Beaux-Arts. Ref. Villa I Tatti ND623C38P6; Posner (1971: 44, pl. 102a); Paolo Biordi (pers. comm., 2000). The shepherds join Mary in worshipping the Holy Child whilst above them angel musicians sing and play violin, viol, lute and a flared-bell recorder, the charcteristic beak and window/labium of which are clearly visible, though the fingering seems haphazad.
• Studies of angels playing the viol and recorder (ca 1597), black chalk on laid, off-white paper, 16.9 × 21.4 cm, Annibale Carracci (?1560-1609). Liverpool: The Walker Art Gallery. "This sketch is a working drawing for the Adoration of the Shepherds (Musée des Beaux-Arts, Orléans) painted by Annibale Carracci in Rome. It shows the figures not as finally painted but in the process of being defined. Many changes were made between the initial large sketch (now in the Fitzwilliam Museum, Cambridge) on which these figures are based and the final painting.
  
  The combination of relatively finished areas, such as the viol-playing angel, with rougher drawn figures, is common in later drawings by Carracci. However, the careful chalk marks are not altogether typical of his later style. This may indicate the work was executed by an assistant.
  
  This drawing is not securely dated. It may have been made around the same time as the painting (1597 - 1598), or may date from after 1600." (Walker Gallery).
• Silenus with a Pipe, school of Annibale Carracci (?1560-1609). Dubrovnik: Rector's Palace, Art Gallery and Museum. Ref. Charles Rowland-Jones (pers. comm., 2001). This picture is hung above a doorway and is dark and probably needs cleaning. Silenus' pipe is of soprano size. It is played right hand lowermost with six fingers covering their holes and the lowermost little finger lifted as if above its hole. There is a possible window/labium, but no other identifying details are discernible. Silenus' hands are in recorder-playing position (Charles Rowland-Jones, loc. cit.)

Ludovico [Lodovico] Carracci

• The Glory of the Angels, oil on canvas, 350 × 200 cm, Ludovico Carracci (1555-1619). Bologna: Church of San Paolo. Ref. Abbiati, in Fabbri (1952, 2: 113); Remnant (1981: fig. 136 – b&w); Archiv Moeck; Villa I Tatti ND623C42B6; Bodmer (1939: 128, no. 36, pl. 92 – col.); Paolo Biordi (pers. comm., 2000). A host of angels play instruments of every kind including triangle, cymbals, organ, cornett, lute, viol, a magnificent bass sackbut, harp and two or three duct-flutes. Of the latter, one (near the cornett player) is a cylindrical flageolet or recorder; the other (near the sackbut player) is flared and obviously a recorder, with the little finger of the lowermost hand covering its hole. Amongst the shady figures in the background, one plays a pipe which could be a duct-flute. This painting has been attributed to Annibale Carracci.
• The Recorder Lesson, Ludovico Carracci (1555-1619). Florence: Uffizi, Print Collection. Ref. Archiv Moeck; Paris RIdIM (1999). His arms encircling his young pupil, a man fingers a cylindrical recorder whilst she blows it.
• The Triumph of Bacchus, drawing, Ludovico Carracci (1555-1619). Florence: Uffizi. Ref. Visual Collection, Fine Arts Library, Harvard University, 372d.C233.4Ba; Rasmussen (1999c). "Bacchants play recorder, straight trumpet and tambourine. A centaur plays a lyre" (Rasmussen, loc. cit.)
• The Ascension, oil on canvas, 256 × 160 cm, Ludovico Carracci (1555-1619). Modena: Galleria Estense, Inv. 272. Ref. Bodmer (1939: 128, no. 36, pl. 92 – col.); Villa I Tatti ND623C42B6; Paolo Biordi (pers. com., 2000); Cosetta (1985, 1: pl. 59). Christ rises to heaven, born aloft by winged putti and entertained on either side by angel musicians. On the left the latter play violin, theorbo, flute, and a duct-flute (flageolet or recorder). On the right are viol, cornett and a second duct-flute (flageolet or recorder). Of both duct-flutes only the head and window/labium are visible.
• Assumption, Ludovico Carracci (1555-1619). Modena: Galleria Estense, Inv. 407. Ref. Anthony Rowland-Jones (pers. comm., 2002). Musical angels include viol, viola, cornett, flute, archlute and a duct-flute clutched in the player's left hand beyond which only the head end is visible. Another possible duct-flute is just visible at the top right which has a window/labium but is held so clse to the mouth as to leave little room for a windway.
• Mystic Marriage of the Virgin, Ludovico Carracci (1555-1619). Rome: Chiesa del Corpus Domini. Ref. Staedel (1933: pl. 57); Anthony Rowland-Jones (pers. comm., 2002). At the top, the Virgin kneels before Christ with angels, some of whom have musical instruments. At the right is a viol player; at the left are a choir, a lutenist, and a piper (far left). The pipe (of alto size, played right hand lowermost) could be a recorder or a cornett.

Michiel Carree

• Landscape with a Flute-playing Shepherd, oil on canvas, 63 × 53 cm, Michiel Carree (17th century). Brunswick: Herzog Anton Ulrich-Museum, Inv. No. 1061. Ref. Bildkunst Foto Marburg (DISKUS-Objekt-Dokument 00010800 – b&w). A shepherd sits on a bank playing his pipe (? flageolet or recorder) as his assistant herds their beasts into an opening in the forest.

Rosalba Giovanna Carriera

• Love presiding over a concert of flute and harpsichord, painted ivory, circular, 10 cm diameter, Rosalba Giovanna Carriera (1675-1757). Paris: Musée de Louvre, Inv. 4801. Ref. Joconde Website (2007 - col.) A cupid stands between two lovers, a young woman playing a harpsichord and a young man playing a slender pipe with a hint of a window/labium and a flared bell, his fingers in a suitable position for recorder-playing.

Cristoforo Caselli [Castelli] (da Parma) [called 'Il Temperelli' or 'Il Temperello"] (1461 – before 1520), Italian

• La Madonna col Bambino intronoeiss Hario, Giovanni Batista e Padre Eterno, Cristoforo Caselli (1461 – before 1521). Parma: Galleria Nazionale. Ref. Copertini (1932: pl. 3); Testi (1905: 13); Visual Collection, Fine Arts Library, Harvard University, C263.34[a]1; Paris RIdIM (1999); Rasmussen (1999b). Three boy musicians stand to the right, three singers to the left. The musicians play lute, vola da braccio or viol (mainly hidden behind the recorder player) and recorder. The recorder player has all fingers down (left hand lowermost) with right thumb in recorder position. The instrument is of alto size, cylindrical, with a gentle flare towards the bell. The bell opening shows an expanded bore. The window is not clearly depicted, but there is a metal or ivory mouthpiece curved towards the player's lips. Notes by Anthony Rowland-Jones (pers. comm.) An image provided by Angelo Zaniol (pers. comm.) shows without any doubt that the recorder beak is reinforced by a brass and not ivory or bone.

Nicola Casissa (op. 1730), Italian

• Vase of Flowers and a Putto with a Flute, oil on canvas, Nicola Casissa (op. 1730). Location unknown. Ref. Gabrius Data Bank (2002 - col.) Beside an enormous vase of flowers, a discretely draped putto with a floral wreath plays a small conical pipe, possibly a duct-flute. Offered for sale with a pendant, Vase of Flowers and a Putto with a Parrot.

Francesco Cassone (19th century), Italian

• Facade decorations (ca 1842), Francesco Cassone (19th century). Noto: Teatro Vittorio Emanuele III. Ref. Anthony Rowland-Jones (pers. comm., 2000). The theatre, designed by Cassone, was built in the main square, and clearly, even in 1842 Noto was proud of its baroque buildings (which are splendid even if collapsing) and the theatre architect modelled his façade largely on the many in the same area from a century earlier. Two sets of trophies on the left and right outside uprights at the front entrance and two more on the inner left and right, show a total of ten recorders of which three have clear window/labium's and all 10 have beaded mouthpieces. Two have baroque decoration at the beak. Those showing the foot have a markedly flared bell. Other instruments include flutes, panpipes, oboes, lutes, trumpets, curved horns, violas, cymbals, and lyres. There are two open music books. At the sides of the building are two more identical pairs of trophies each with a recorder crossed with an oboe. None is shown complete. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Bellerophonte [Bellerofonte] Castaldi

• Title page: Capricci a due stromenti, engraving, published by the composer, Bellerophonte Castaldi (1622). Ref. Fraenkel (1968: pl. 84); Boydell (1982: 285, pl. LXXV). The eccentricities of Castaldi's life, as well as the notion of caprice and fantasy, are reflected in this unusual title in which his first name is spelled backwards. Above the title is an angel with outstretched wings. Surrounding it are winged putti and fauns singing and playing musical instruments. A faun plays a shawm with a square fontanelle at the wrong end of the instrument, possibly through confusion with a wind cap. A trophy of wind instruments above his head include a lysarden and a sharply tapered recorder of plain design, the paired finger-holes at the bottom clearly shown. Above the female faun on the left is a much bigger cylindrical recorder the characteristic beak and three finger-holes of which are clearly visible; also a shawm, a straight tumpet and the body of another wind instrument. Winged putti at either side play fiddle and tamborine. At the bottom of the page is a trophy with a coat of arms and two theorbos.

Abdón Castañeda

• Virgin with Angels (ca 1610-1620), oil on canvas, 106 × 140 cm, Abdón Castañeda (ca 1580-1629). Valencia: Museo de Belles Artes San Pío V., Inv. No. 3860. Ref. Pintura y Musica en el Museo San Pio V (1995: 77, pl.-col.); Paolo Biordi (pers. comm., 2001). On either side of the Virgin and Child, decidedly female-looking angels plays a narrowly conical pipes. That on the right is a duct-flute played one-handed, the window/labium clearly depicted. The longer one on the left, played two-handed, is ambiguous with no window/labium visible, but three finger-holes are visible above the right hand and by the first finger and the bell is well flared, indicating that this might represent a recorder.

Giovanni Benedetto Castiglione (by name Il Grechetto, French Le Benèdette)

• Allegory [of the Arts], Giovanni Benedetto Castiglione (ca 1610-1665). Kansas City: William Rockhill Nelson Gallery of Art. Ref. Rich (1969: 126). A panoply of musical instruments of all kinds lie littered about the countryside; a woman dances in the foreground accompanied by musicians playing lute and bagpipe! A reclining satyr holds a small, slightly flared recorder. In the distance, revellers frolic in disarray.
• The Education in Music of the young Achilles by the Centaur Chiron, Giovanni Benedetto Castiglione (ca 1610-1665). Hamburg: Kunsthalle. Ref. Munich RIdIM (1999: Hkh 144). Achilles plays a guitar while Chiron points to the music. At Achilles' feet, tied together, a small slide trumpet and an alto recorder with a slightly fared bell. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• The Trojan War, an Illustrated Companion: The Life of Achilles: The Education of Achilles (2002). Achilles practices the guitar under the guidance of Chiron, whilst another centaur dozes beside a plinth. In the foreground lies a garland comprising a small shawm crossed by a flared-bell recorder and some flowers.
• From Varii Capricci, E Paesi: The Education in Music of the young Achilles by the Centaur Chiron, etching, 210 × 298 mm, by (1680 – 1767), by Gaetano Zompini (1700-1778) after Giovanni Benedetto Castiglione (ca 1610-1665). Boston: Museum of Fine Arts, 2001.641; San Francisco: Achenbach Foundation for Graphic Arts. Formerly attributed to: Anton Maria Zanetti I (1680–1767).
• Pan teaching the young Olympia to play the Flute (1648), engraving by Jo. Iacomo Rossi after, Giovanni Benedetto Castiglione (ca 1610-1665). Paris: Louvre. Ref. Bartsch (1854-1870, 21: 17.15); Rosenberg (1969: 92); Paris RIdIM (1999). Paris RIdIM (loc. cit.) give the title as Marsyas and Olympia. Pan shows Olympia how to play a pipe as she sits at the foot of a tree beside a culvert gushing water in which two putti gambol. The instrument is ambiguous and could be a chalumeau or duct-flute. The mouthpiece looks rather like a reed. However, two finger-holes are clearly visible below the midle finger of the lowermost (right) hand and one above, so this just might be a recorder. Notes (in part) by Anthony Rowland-Jones (pers. com., 2000).
• A Shepherd and his Flock attributed to Giovanni Benedetto Castiglione (1609-1670). Bordeaux: Musée des Beaux-Arts. Ref. Joconde Website (1999).
• Adoration of the Shepherds, drawing in sepia, Giovanni Benedetto Castiglione (1609-1670). Venice: Galleria dell'Accademia, exhibition Disegni genovesi 28 September 2002 – 6 January 2003. Ref. Angelo Zaniol (pers. comm., 2003). Shepherds crowd around the Holy Family. One of them, a bearded man, holds a tenor-sized flared pipe with a small notch at the blowing end which may represent the window/labium of a duct-flute.
• Adoration of the Shepherds, painting, Giovanni Benedetto Castiglione (1609-1670). Ref. Website: Early Music Gallery (2005 - col.) Admiring angels hover overhead, Joseph leans on his shoulder, asleep, and shepherds pay homage to the Holy Child. One of the shepherds holds a tenor-sized flared recorder.

Castrucci Workshop (1590s – 1624)

• Pietra dura table-top with coat of arms and monogram of Karl I von Liechtenstein (ca 1623), commessi di pietre dure, garnets, and gilt bronze, 93 × 89 cm, Catrucci Workshop (1690s – 1624). Vienna: Palais Lichtenstein, Inv.-No. SK1401. Ref. Anthony Rowland-Jones (pers. comm., 2007; Website: Palais Lichtenstein (2007 - col.) The coat of arms and monogram on the table-top in Commessi di pietre dure indicate the piece was commissioned by Prince Karl I von Liechtenstein. It is divided into small fields by strips of reddish-brown jasper, and the fields are inlaid with landscape images, trophies, coats of arms and geometric forms. The symbolism of these motifs reflects the influence of the scientists and philosophers active at the court of Emperor Rudolf II in Prague (1552–1612). The platonic bodies were equated with elements of cosmology: tetrahedrons and octahedrons thus stand for the elements fire and air. Within Baroque society´s concept of the hierarchy of nature, precious stones occupied a similarly outstanding position as princes did in society. This explains why it was a ruler’s prerogative to possess precious stones. One of the trophy designs shows two kettledrums and two trumpets with, behind the kettledrums, sticking out on each side, an instrument that looks like a thin-bore tenor recorder or a flute of some kind – but it does have a beaked mouthpiece and some very slight bell flare and so may represent a recorder.

Luigi Catani

• Ceiling decoration, Luigi Catani (1762-1840). Florence: Palazzo Pitti, Sala dell' Educazione di Giove. Ref. Anthony Rowland-Jones (pers. comm., 2002). A spectacular coffered ceiling on a diagonal pattern creating many spaces for single objects, such as panipes which appear frequently. Near the SW corner is an alto recorder with a scroll of music over it; the instrument, seen sideways on, has a beaked mouthpiece with a long windway. The window/labium is not visible, but three upper finger-holes are, before the music obscures the instrument from which the flared bell end obtrudes.

Sigismondo Caula

• St Carlo Borromeo Administers to the Sick, oil on canvas, 97 × 147 cm, Sigismondo Caula (1637-1694). Modena: Galleria Estense. Ref. Cosetta (1985, 1: pl. 71); Anthony Rowland-Jones (pers. comm., 2002). An episode from the life of St Ambrogio. The sick in this case were sufferers from the plague in Milan in 1576. Among 17 musicians in various places, mainly trumpeters, a group at the left comprises 2 violas, bass, lute and a tenor recorder. The later is played right hand lowermost, the left hand rather too high up. The moutpiece is beaked, the body is cylindrical, possibly with a very slight bell flare. The player's position in shadow makes it impossible to see details other than the outline (Rowland-Jones, 2002).
• Saint Ambrose on Horseback in the Crowd, oil on canvas, Sigismondo Caula (1637-1694). Modena: Galleria Estense, Inv. 1884 n. 2927 Ref. Cremona, Università di Pavia, Facoltà di Musicologia (MLS); Institut für Musikwissenschaft (2003 - col.) St Ambrose, enters the city of Milan, looking around and taking in the reality of the place in its various aspects. He is surrounded by trumpeters accompanying his arrival in a solemn way, and by the men and women acclaiming him; there are also a group of brawlers, a poor man lying on his back – perhaps he is ill, a woman praying, and a group of street musicians with a narrowly cylindrical alto-sized recorder, violin, viola (?), cello and lute.

Louis de Caullery

• Nativity, oil, Louis de Caullery (op. 1582-1621/2). Ref. Gabrius Data Bank (2000 - col.) The Holy Family are surrounded by their visitors. In the clouds above, angel musicians sing and play lute, harp, organ, and a flared-bell pipe. The latter is possibly a recorder, since a shawm or trumpet would be rather out of place in this company. The "portholes" in the clouds through which the heads of putti can be seen are a curious touch.

Bartolomeo Cavarozzi [del Crescenzi]

• The Lament of Aminta, 1614-1615), Bartolomeo Cavarozzi (ca 1600-1625) & Master of the Acquavella Still Life (fl. 1610-1620). Italy: Private collection. Ref. van Heyghen (1995: 7, pl. 1, caption – the illustration itself is in serious error!); Exhibited: The Genius of Rome, Royal Academy of Art, London (2001); Anthony Rowland-Jones (pers. comm., 2001); Rowland-Jones (2001: 15). “Depicts Aminta's Lament (from Tasso), probably based on a lost work by Caravaggio. This has music in it, showing the title page of the score of Aminta Musicale, and the shepherd Aminta expresses his grief over the death of his lover Sylvia by playing on a recorder, while his companion shepherd, Tirsi, leans over a tambourine, presumably Sylvia's, with a viola and bow on the table just below. The recorder is a perfect representation – a rather heavily-bodied alto, with no decoration. Aminta's Hands are partly hidden by vine-leaves (left hand uppermost), but the paired little-finger-holes and the gently flared bell are clear, as is the bore end opening showing that most of the flare is in wood-thickening” (Rowland-Jones, loc. cit.)
• Young Violinist, oil on canvas, 100 × 120 ( originally 87 × 111) cm, attributed to Bartolomeo Cavarozzi (ca 1600-1625). Paris: Louvre Inv. R.F 1937-6. Ref. Musique-Images-Instruments 2 (1996: 240); Lallement & Devaux (1996: 239-241, pl. 6 – b&w); Joconde Website (1999); Visual Collection, Fine Arts Library, Harvard University, 372.It117.90[h]; Rasmussen (1999c). A young man (possibly a woman) languishes with one arm on a table on which lie his violin and a book of music, the other arm clutching a tambourine. Beside him, a soulful youth with a laurel crown plays a renaissance-style flared-bell alto recorder (perfectly depicted); in front of him on the table grapes are heaped. Formerly attributed to Giovan Battista Crescenzi. There are two versions superior in quality to this in private collections in London and Bergamo.
• Young Violinist, oil on canvas, attributed to Bartolomeo Cavarozzi (ca 1600-1625). Bergamo: Collection Parelari. Ref. Paris RIdIM (1999). A young man languishes with one arm on a table on which lie his violin and a book of music, the other arm clutching a timbrel. Beside him, a soulful youth with a laurel crown plays a flared bell alto recorder; in front of him on the table grapes are heaped. Formerly attributed to Giovan Battista Crescenzi. There are versions of this in a private collection in London and in the Louvre.

Cecco del Caravaggio = Francesco Buoneri

Jules-Cyrille Cavé

• Flute Lesson, oil on canvas, 155 × 107 cm, Jules-Cyrille Cavé (1859 – ca 1940). Location unknown: auctioned Bonhams (New Bond Street), Sale 11930 - 22 March 2005, Lot 102, (sold for £34,800) Ref. Gabrius Data Bank (2007 - col.) An eldery herdsman in a loin-cloth and fur blanket teaches a young boy in a loin-cloth to play a narrowly conical pipe, possibly a recorder given the disposition of the fingers.

Giacomo Cavedone [Cavedoni]

• Flute Player, drawing, Giacomo Cavedone (1577-1660). Florence: Galleria degli Uffizi, Gabinetto Disegni e Stampe. Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0017249 (2009 - b&w). A man viewed in side profile plays a cylindrical pipe of alto/tenor size. If it is indeed a flute then it must be a duct-flute, possibly a recorder.

Cenni di Francesco di Ser Cenni

• Virgin and Child with Saints and Angels (?1369-1380), panel, 87 × 47 cm, Cenni di Francesco di Ser Cenni (op. ?1369-1415), Florentine. Florence: Galleria Luigi Bellini di Giusepppe e Mario Bellini, Lungarno Soderini, 5. Ref. Catalogue of the Biennale des Antiquaires, Florence (1973); Brown (1984, 1). Four angels play musical instruments: harp, two psalteries and a flared-bell pipe. Brown (loc. cit.) identifies the latter as a recorder or shawm', but it is impossible to tell.

Carlo Ceresa

• Still-life with Musical Instruments, Carlo Ceresa (1609-1679). Bergamo: Private Collection. Ref. Tintori (1985: 113). Beneath a tasselled drape on a table lie a violin, viola da braccio, guitar, lute and trumpet. From beneath the viola da braccio projects the foot of a recorder, the thumbhole of which is clearly depicted.

Michelangelo Cerquozzi [Michelangelo delle Battaglie]

• Shepherds Resting and Making Music, with a Cow and Sheep in a Landscape Circle of Michelangelo Cerquozzi Location unknown: auctioned 29 October 2003 (sold). Ref. Gabrius Databank (2007 - col.) A dark scene, presumably at night. A group of shepherds listen to one of their companions playing bagpipe whilst another plays on a cylindrical pipe, probably a recorder since the instrument is rather wide and the little finger of the lowermost (left) hand seems to be covering its hole.

Giovanni [Gian] Domenico [Perugino, Cavaliere] Cerrini

• The Muse Euterpe as a Young Woman Playing the Flute, oil on canvas, 63 × 47, Giovanni Domenico Cerrini (1609-1681). Rennes: Musée des Beaux Arts, Inv. 801.1.19. Ref. Joconde Website (1999). A young woman plays a very slender duct-flute (flageolet or recorder) the beak of which is just visible, though other details are obscure.

Giacomo [Jacop] Ceruti [il Pitocchetto] (1698-1767), Italian

• Contadino with a Recorder, Giacomo Ceruti (1698-1767). Treviso: Il Museo Civico 'Luigi Bailo'. A peasant boy plays an alto/tenor recorder with a marked bell flare. The window/labium is clear; all fingers of the upper (left) hand are on the instrument; the lowermost hole (for the right hand) is open and is not offset; and the second lowest finger is half-holing. The 4+3 fingering is unusual.
• [ A Man with a Recorder], oil on canvas, Giacomo Ceruti (1698-1767). Ref. Gabrius Data Bank (2002 - b&w.) A man, half length, in a wide-brimmed hat, holds a highly decorated recorder reminiscent of surving examples by Ancitui and Gahn.
• Portarolo seduto / The Basket Bearer, Giacomo Ceruti (1698-1767). Milan: Castello Sforzesco. Ref. Angelo Zaniol (pers. comm., 2004). The ancient term portarolo denotes the old trade of panage which was undertaken by the poorest youngsters. A young lad, warmly dressed, sits on a basket in a town square holding a cylindrical recorder of alto size.

Amidano Giulio Cesare – see Sisto Rossa Badalocchio

Bartolomeo Cessi

• Cupola decoration: Holy Trinity encircled by angel Musicians (1594), fresco, Bartolomeo Cessi (1556-1629). Siena: Cetosa di Maggiano. Ref. Graziani (1988: 19, 24, 163); Villa I Tatti ND623C54G7; Paolo Biordi (pers. comm., 2000). Christ is crowned by the Father, both seated on clouds, whilst a Dove hovers above them. In a circle round about the central scene angel musicians sing and play musical instruments including harp, trumpet, tambourine, violin, viols, triangle and sackbut. One angel holds aloft a flared-bell pipe (recorder or small shawm) the head of which is hidden behind a tambourine.
• Holy Trinity encircled by angel Musicians (1594), preparatory sketch, pen and brown ink, Bartolomeo Cessi (1556-1629). Ref. Graziani (1988: 163, pl. 18); Villa I Tatti ND623C54G7; Paolo Biordi (pers. com., 2000). Christ is crowned by the Father, both seated on clouds, whilst a Dove hovers above them. In a circle round about the central scene angel musicians sing and play musical instruments including harp, trumpet, tambourine, violin, viol, triangle and sackbut. Four angels play or hold ambiguous pipes (possibly recorders).

Marc Chagall [Mark Zakharovich Shagal]

• The Three Candles (1938-1940), oil on canvas, 127.5 × 96.5 cm, Marc Chagall (1887-1985). Private Collection. Ref. Compton (1985: pl. 100 – col.); Anthony Rowland-Jones (pers. comm., 2001). At the bottom right a harlequin figure wearing a green cap plays an ambiguous flared-bell pipe that may be intended to represent a recorder.
• Madonna of the Village (1938-1942), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 83 – col.); Anthony Rowland-Jones (pers. com., 2001). Two singing angels are accompanied by a goat playing violin and an angel playing an ambiguous flared-bell pipe that may be intended to represent a recorder since a slight cut-out near the beak appears to represent a window/labium, and a number of finger-holes are visible.
• La Mariée (1950), Marc Chagall (1887-1985). Paris: Galerie Maeght; London: Sotheby's, November 1967. Ref. Anthony Rowland-Jones (pers. comm., 2000; 2002d: front cover - col.) Beside the bride a goat plays a cello (Chagall's imagery frequently included the violin family, usually painted blue – but this cello is brown), a cock beneath. At the bottom right is a pipe-player; wind instruments are infrequent in Chagall's work. The pipe is of alto size, expanding conically from a small mouth end to a bell which lacks a flare. If the instrument is not really recognisable its symbolism in this subject certainly is! Notes by Anthony Rowland-Jones (loc. cit.)
• The Concert (1957), 140 × 239.5 cm, Marc Chagall (1887-1985). Private Collection. Ref. Compton (1985: pl. 98); Anthony Rowland-Jones (pers. comm., 2001); Olga's Gallery (2009 - col.) At the centre of this painting a bride and groom are shown as lovers. At the top right a girl in a striped blouse and checked skirt plays an ambiguous flared-bell pipe of alto/tenor size that may be intended to represent a recorder. Towards the top left a man plays a similar instrument.
• Dance (1962-1963), Marc Chagall (1887-1985). Image from Carol L. Gerten (Jackson). Ref. Compton (1985: pl. 100 – col.); Anthony Rowland-Jones (pers. comm., 2001). At the bottom right musicans play piano, violin, cello, drum and an ambiguous pipe of tenor size that may be intended to represent a recorder.
• Music (1962-1963), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 101 – col.); Anthony Rowland-Jones (pers. comm., 2001). At the bottom right two lovers are accompanied by musicians singing and playing cello and an ambiguous flared-bell pipe that may be intended to represent a recorder.
• The Large Circus (1968), 170 × 160 cm, Marc Chagall (1887-1985). Private Collection. Ref. Compton (1985: pl. 116 – col.); Anthony Rowland-Jones (pers. comm., 2001); Website: chosun.com (2009 - col.) Men, women and children look up at a ghostly figure above them playing a yellow, flared pipe which could represent a trumpet or possibly a recorder. See also The Large Grey Circus, detail at top.
• Musicians (1979), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 120 – col.); Anthony Rowland-Jones (pers. comm., 2001). Next to a violinist a man in a red bowler hat plays an ambiguous flared-bell pipe of alto/tenor size that may be intended to represent a recorder.
• The Grand Parade (1979-1980), Marc Chagall (1887-1985). Ref. Compton (1985: pl. 121 – col.); Anthony Rowland-Jones (pers. com., 2001). A man plays a flared wind instrument that seems almost certain to be a recorder. It is of alto/tenor size, the beak and window/labium are visible and there is an offset hole for the little finger of the lowermost hand.
• Vie (1964), Marc Chagall (1887-1985). Around a mother, her husband and baby life revolves: lovers. musicians, dancers, the Eiffel Tower … In the top right-hand corner a woman plays a conical pipe which possibly represents a recorder.
• The Flute Player (ca 1957), colour lithograph on paper, 22.9 × 39.4 cm, Marc Chagall (1887-1985). Stamford: Harbour View Center for Antiques, FMT-33075 (for sale). Ref. Gabrius Data Bank, 20th Century (2002 - col.) A woman with flowing hair, on her side, plays a conical pipe with the characteristic beak of a duct-flute; a window/labium is hinted at; three finger-holes are visible; and the thumb of the uppermost hand seems well angled for recorder . A cello floats above her, and above that a bird. In the distance are some houses. Published by Maeght, Paris in 1957 as part of a set printed by Sorlier from the celebrated Mourlot atelier in Nice, France, where the artist lived. The set contained a total of 15 lithographs (including cover).
• The Magic Flute, lithograph on paper, Marc Chagall (1887-1985). Location unknown: copies auctioned 15 November 1990 (sold), 7 November 1996 (sold), 01 May 2003 (sold), 18 September 2003, 03 November 2005 (sold). Ref. Gabrius Data Bank (2007 - col.) In a garden are a snake, a lion, hens, a mule, a dove, and a chimera (with a hen's legs and feet, a woman's body, and angel wings) playing a flared-bell pipe. This work has also been offered for sale attributed to Charles Sorlier, Chagall's friend and a lithographer who worked with him in the production of his works in this medium.
• The Magic Flute, lithograph on paper, Marc Chagall (1887-1985). Location unknown: copies auctioned 04 March 2003 (sold), 15 September 2005 (sold). Ref. Gabrius Data Bank (2007 - col.) A coloured version of this work. In a garden are a snake, a lion, hens, a mule, a dove, and a chimera (with a hen's legs and feet, a woman's body, and angel wings) playing a flared-bell pipe. This work has also been offered for sale attributed to Charles Sorlier, Chagall's friend and a lithographer who worked with him in the production of his works in this medium.
• Maternité au Centaur (1957), coloured lithograph on pale cream wove Arches paper, 24.8 × 23.5 cm, Marc Chagall. London: William Weston & Co. 24/90 (sold 2002); San Francisco: Art Gallery, Gleary St (East of Union Square), 88/90 (for sale, 2002); Blaine: Fisher Fine Art (for sale, 2009) Ref. Website: William Weston & Co. (2002); Website: Fisher Fine Art (2009 - col.) A reclining nursing mother is serenaded by a blue centaur who plays a conical pipe, possibly a duct-flute.
• Musicians (1962), lithograph in black ink on pale cream stiff wove arches paper, 32.4 × 24.6 cm, Marc Chagall (1887-1985). London: William Weston & Co., 42/150 (sold). Ref. Website: William Weston & Co. (2002). Four musicians play violin, cymbals, a curved horn, and a straight, flared pipe, possibly a duct-flute.
• Angel over Vitebsk (1977), oil on canvas, 81 × 100 cm, Marc Chagall (1887-1985). Private Collection. Ref. Web-site: choson.com (2009 - col.) Above the city lovers embrace, a horse bears a candalabrum (Menorah) on its back, and a crowd looks up at musicians playing violin and a conical pipe, probably duct-flute.

Thomas Chambars – see Michelangelo Merisi da Caravaggio

Jerome François Chantereau [Chanterau or Chantreau] (ca 1710-1757), French

• The Dancing Dog (a. 1749), Jerome François Chantereau (ca 1710-1757). Stockholm: Nationalmuseum, NM 776. Ref. Anthony Rowland-Jones (pers. comm., 2000). Members of a peasant family sit and stand around, watching a small dog on his hind legs – whilst another dog watches disapprovingly! Music is provided by a boy playing what looks like an alto-sized duct-flute (possibly a recorder). The instrument is mainly slender and cylindrical, but has a considerable bell flare. Both the boy's hands are well down the instrument, with the little finger of the lower (left) hand outstretched to its hole near the start of the flare. Notes by Rowland-Jones (loc. cit.)
• Flute Player and Children in the Forest, oil on canvas, Jerome François Chantereau (ca 1710-1757). Location unknown: Auctioned by étude Tajan, Paris, 14 December 1998 (unsold). Gabrius Data Bank (2002 - b&w). In the forest a girl with a basket of flowers sits playing with her dog, a boy offers another girl a bouquet, and a second boy sits playing a long cylindrical pipe. The first finger of the piper's upper (right) hand and all four fingers of his lower (left) hand are covering their holes, so the artist may have had a recorder in mind.

Wonjoung Chang (fl. 2009), USA

• Untitled, cover illustration, Wanjoung Chang (2009). American Recorder 50(2): front cover (2009). Above a stylised New York skyline fireworks spell out "70th". In the foreground the Statue of Liberty holds a neo-baroque recorder high in the air. Celebratest he 70th anniversary of the American Recorder Society.

Pierre Chapelle

• Recorder Player, painted ceramic tile, attributed to Pierre Chapelle (17-18th century). Sèvres: Musée National de Céramique. Ref. Benoit (1971: pl. xvii, fig. 21c); Anthony Rowland-Jones (pers. comm., 2007). A Hotteterre-style alto recorder is played by a young man, left hand lowermost.

Jeanne Norman Chase

• Flute Player, woodblock print on paper, Jeanne Norman Chase (contemporary). Ref. flautotraverso.it An edition of 30 prints were made. A young girl plays a stylised cylindrical recorder, the little finger of her lowermost (right) hand clearly positioned to cover its hole.

Chelsea Manufactory – see also Joseph Willems (1715-1766)

• Shepherd (ca 1752), ceramic figurine, 16.51 cm, Chelsea Manufactory, England. Boston: Museum of Fine Arts, 1988.647. A shepherd boy leans against a tree stump at left rear, with a spotted dog lying on an irregular base with applied flowers. He wears a turquoise hat and breeches, white coat with ruffs at neck and wrists, gold button, and black shoes with gold buckles. He plays a perfectly depicted baroque recorder, though the foot has broken off.

Daniel Nikolaus Chodowiecki

• [Various Musical Instruments] (1780), Daniel Nikolaus Chodowiecki (1726-1801). Ref. Website: Will Kimball (2009), Trombone History Timeline. Depicts a number of other musical instruments, including flute and recorder. The scale of the individual instruments is not realistic. Presumably a book illustration.

Joseph Christian (18th century), German

• The Nativity with the Adoration of the Shepherds (1744-1748), gilded limewood relief, Joseph Christian. Zwiefalten (Swabia): Cathedral, back panels of stalls on both sides of the choir. Ref. Rowland-Jones (2000a: 11-12, fig. 1-4) -b&w; Rowland-Jones (2000b: fig.-b&w). "Three shepherds are arriving, and others have already placed their gifts before the crib. The two shepherds at the left bring a trombone and a bass recorder – unlikely instruments for simple shepherds to make, but full of portent. For both trombones and recorders are associated with death . . . two shepherds' pipes, possibly modeled by the artist on descant recorders, placed immediately at the foot of the crib, one upon the other, in the form of a cross" (Rowland-Jones 2000a, loc. cit.)
  
  "Shepherds have little to give the Infant Jesus – a lamb, their crook, or a pipe (their music) which are their identifying attributes, signifying they are offering themselves to Christ. But the gifts have a secondary symbolism – its feet tied, the Paschal Lamb; and instruments associated with death – recorders and trombone. Closest of all to the crib, two shepherd's pipes are placed in the form of a cross" (Rowland-Jones 2000b, loc. cit.)

Joseph Christophe (1661-1748) – see Charles Le Brun (1619-1690)

Petrus Christus [or Cristus or Christophorus]

• The Virgin of Grenada, wood, 77 × 525 cm, Petrus Christus [or Cristus or Christophorus] (fl. ca 1442-1473). Barcelona: Collection Miguel Maten. Ref. Paris RIdIM (1999). The Virgin and Child sit beside a road winding through the countryside with an extensive fortified wall. On either side angel musicians play a lute and a long, cylindrical flared-bell recorder. The bell has a little decorative turning, the window/labium and the disposition of the fingers are clearly shown.

Kristen Cicilova

• Music of Spring, pen, watercolour, pencil and pastel on paper, Kristen Cicilova (contemporary). Ref. American Recorder (2007: cover - col.) A neo-baroque recorder sprouts branches in which birds nest and beneath which they feed.

Conte Carlo Cignani

• Personification of Painting and Sculpture, oil on canvas, 97.2 × 74.9 cm, Carlo Cignani (1628-1719). New York: Sotheby's, Old Maser Paintings, 14 January 1994, Lot 205 (Artifact 2003), Item 114 (Gabrius Data Bank (2002). Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001); Gabrius Data Bank (2002 - col.); Artfact (2003). A putto holding a laurel wreath and a flared-bell recorder crowns a female personification of painting and sculpture who holds an artist's palatte in one hand and a pair of dividers in the other which rests on the pate of a marble bust. The recorder's bell is exceptionally wide; the beak can just be seen beneath the putto's hand, and seven finger-holes are clearly visible, the lowermost slightly offset.
• Shepherd and Shepherdess, Carlo Cignani (1628-1719). St Petersburg: Hermitage. A shepherd plays his recorder to a shepherdess whose two children gambol over a sheep sitting in her lap. The recorder, a slender, flared-bell alto-sized instrument, is beautifully depicted, the beak, window/labium and several finger-holes clearly visible, , including one of the paired holes for the lowermost finger.

Lodovico Cigoli [Lodovico Cardi; il Cigoli]

• Adoration of the Shepherds (ca 1601-1602), oil on canvas, 98.5 × 61 cm, Lodovico Cigoli (1559-1613). Hartford: Wadsworth Atheneum. Ref. Zafran (2004: 54-55, pl. - col.) At centre-right a shepherd boy with puffed cheeks lays a small cylindrical duct-flute, and an old bearded shepherd next to him holds a lamb with its legs tied, a basket of eggs beside him – all symbolic details. The window/labium of the pipe is clearly depicted, and the young lad plays with all fingers down, except finger 6, with the right hand uppermost. The little finger of the lowermost (left) hand appears to be in a hole-covering position, but higher up, although the fingers are down, two finger-holes are fully visible under the right hand and one partly under the left-hand.

Cima da Conegliano [Giovanni Battista]

• Nativity, Cima da Conegliano (ca 1459-1517/18). Venice: Chiesa dei Carmine. Ref. Anthony Rowland-Jones (pers. comm., 2000); Angelo Zaniol (pers. comm., 2003). A particularly beautiful painting depicting the Holy Family with shepherds and Saints paying homage to the Christ-Child in his wicker crib in the foreground. In the background is a landscape with mountains, a castle, a shepherd and a child with a dog and sheep. The shepherd plays a slender, cylindrical tenor-size duct-flute left hand lowermost, window/labium clear, and two finger-holes below the lower hand. The child sleeps at his feet on the grass with a similar instrument of alto-size (with a flange at the bell-end) under his hand.

Michelangelo Cinganelli (1580-ca 1635), Italian

• Angel Musicians, fresco, Michelangelo Cinganelli (1580-ca 1635) Florence: Casa Buonarroti. Camera degli Angioli (via Gibellina 70). Ref. Paolo Biordi (pers. comm., 2000). Four angel musicians sing and play viol, tambourine and a flared-bell pipe of alto size. The latter is held almost horizontally and the upper part is hidden behind the neck of the viol; however, all fingers of the lowermost right hand seem to be covering their holes, and the flared bell is characteristic of the recorder rather than a flute.

Antonio Ciocci [Cioci] (op. 1722-ca 1792), Italian

• Still-life, oil on canvas, 65.5 × 102.8 cm, circle of Antonio Ciocci (op. 1722-ca 1792). Location unknown: sold Christie's London, 11 December 1992, lot 428. Ref. Sale catalogue (1992: 66, fig. 72); Paris RIdIM (2000); Gabrius Data Bank (2001 - col.) On a tapestry-covered table are a bowl of carnations, an oil painting, an engraving, an open music book, sheets of music, papers, a violin, a guitar (face down) and a cylindrical alto recorder, the foot hidden behind the guitar. Auctioned 11 Dec. 1992, sold; 23 May 1997, unsold (Gabrius, loc. cit.)

Giacomo-Francesco Cipper (or Zippa), called 'Il Todeschino' [or 'Todeschini']

• The Duet, Giacomo-Francesco Cipper (?1664-1736). Bremen: Kunsthalle. Ref. Archiv Moeck; Munich RIdIM (1999: BMkh 21). A man holds a flared-bell alto recorder of tenor size; his companion holds a bassoon and a piece of music; a dog and a young boy look on expectantly.
• Musicians, canvas, 115 × 95 cm , Giacomo-Francesco Cipper (?1664-1736). Florence: Antique Dealer "Florentia", Bellini et Berti. Ref. Paris RIdIM (1999). A man playing a baroque oboe accompanies his wife who sings from a sheet of music beating time with another furled in her hand and gazing heavenward. Both seem oblivious of the small child at their feet who blasts away on an alto flared-bell recorder grasped in one hand.
• The Recorder Player, Giacomo-Francesco Cipper (?1664-1736). Venice: Academy, Inv. 856. Ref. Paris RIdIM (1999); Website: klassiskgitar.net (2007 - col.); Website: Instituto Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0028292. An old man holds an alto flared-bell recorder which he is about to play from a music book open on the table in front of him. In the foreground, a cittern leans against the wall; behind him an old woman and a young man sing from a sheet of music.
• Players at Mora, Giacomo-Francesco Cipper (?1664-1736). Madrid: Prado. Ref. Anthony Rowland-Jones (pers. comm., 2001). Mora is a game originating in Spain, involving clapping and punching. Oil on canvas. A single musician plays a perfect alto size recorder, with all details clear and fingers well placed (right hand lower). This is a hand fluyt type of instrument, with bell flare after a slight contraction in the exterior shape.
• Market Scene (ca 1670-1738), 120 × 155 cm, Giacomo-Francesco Cipper (?1664-1736). Detail. Location unknown: sold Sotheby's, London, 24 February 1971. Ref. Sale catalogue (February/March 1971); Paris RIdIM (2000). A group of peasants are gathered at a market. A young man has a basket of fish; a young woman weighs out some ?cherries taken from a basket in front of her which also contains some asparagus. Behind them a young woman offers a coin in payment for the ?cherries, whilst two beggars beg from her. In this distance a young boy plays a cylindrical pipe, probably an alto-sized duct-flute (flageolet or recorder).
• Musical Pair with a Singing Bird, oil on canvas, 92 × 70 cm, attributed to Giacomo-Francesco Cipper (?1664-1736). Location unknown: formerly Private Collection, Europe; offered for sale by Dorotheum, Vienna, Lot 5, 22 March 2001 (unsold). Ref. Paris RIdIM (2000); Sale Catalogue: Dorotheum, Vienna (22 March 2001 - col.); Gabrius Data Bank (2002 - col.) A woman sitting at a table sings from a manuscript held in her left hand, a second page held in her right from which a bird standing on the table appears to be reading his own part! A third manuscript page lies curled up on the table. To her right a young man in a three-cornered hat plays a slender flared-bell one-piece alto recorder, apparently from the same part as the bird!
• A Peasant Man playing a Recorder at Table, oil on canvas, 77.5 × 67.3 cm, follower of Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Sale catalogue; Paris RIdIM (2000); Ref. Gabrius Data Bank (2002 - b&w.) A middled-aged man with sad eyes sits at a table playing a flared-bell duct-flute of soprano/alto size. However, his lower-most little finger supports the instrument from underneath, so this may represent a flageolet rather than a recorder.
• A Pair of Musicians, oil on canvas, 109 × 92 cm, follower of Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Sale catalogue; Paris RIdIM (2000). A bearded man (wearing a wreath of leaves) plays a flared-bell alto-sized recorder with a wave-profile head. A woman (wearing a sort of turban) beside him holds a sheet of music from which he reads. On a table immediately in front of them lie a violin and an open book.
• Cittern Player, oil on canvas, 96 × 132.5 cm, Giacomo-Francesco Cipper (?1664-1736). Stockholm: Nationalmuseum, Inv.-Nr. NM 761. An old man plays a diatonically fretted cittern. Behind him the bells of two wind instruments can be seen: one appears to be a shawm, the other a recorder, the last four finger-holes of which are visible. On a table in front of the player seven tortoises frolic – perhaps the player keeps them to use their shells for plectra!
• A Peasant Man playing a Recorder, oil on canvas, attributed to, Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Gabrius Data Bank (2002 - b&w.) A man in a cap holds a crudely depicted recorder. Auctioned 22 February 1996, sold (Gabrius, loc. cit.)
• Concerto Campestre, oil on canvas, Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Gabrius Data Bank (2002 - b&w.) A smiling shepherd holds a flared-bell recorder of alto-size whilst his shepherdess companon plays a Jew's harp. A dog at their feet looks interestedly up at them. In the foreground sits a young boy with his back with us; it is unclear what occupies him. The recorder has a sharply flared bell and the beak appears to be made of a darker material than the body of the instrument. Auctioned 5 December 1991, unsold; 15 October 1993, unsold; 28 November 1995, sold (Gabrius, loc. cit.)
• A Loving Couple with a Flute player, a Little Girl, a Dog and a Still-life in a Landscape, oil on canvas, Giacomo-Francesco Cipper (?1664-1736). Location unknown. Ref. Gabrius Data Bank (2002 - b&w.) A loving couple share a meal from amongst the bread, fruit and wine on the table before them. Beside them a young man holds a pipe (possibly a recorder); at their feet are a dog and a little girl. Auctioned 1 March 1994, sold (Gabrius, loc. cit.)
• An Old Woman with a Mouse Trap, a Girl with Knitting and a Peasant Boy with a Recorder in a Farmhouse, oil on canvas, 148 × 118.8 cm, Giacomo Francesco Cipper (1664-1736). London: Christie's, 16 December 1998, Lot 60. Ref. Artfact (2004). One of a pair of paintings offered for sale, the other depicting a peasant woman playing the hurdy-gurdy, a girl playing the dulcimer and drinking, and a youth in a farmhouse. Another painting by Cipper of these peasants with a mousetrap and a cat, where the youth also holds a recorder is illustrated by Proni (1994: 70, fig. 20). Not seen.
• Musician, painting, Giacomo Francesco Cipper (1664-1736). Location unknown: auctioned 3 December 2002 (unsold). [Possibly Sotheby's (Milan), Sale MI0206, Old Master Paintings.] Ref. Gabrius Databank (2007 - col.) A young man in a feathered cap holds an alto-sized, slender, flared bell recorder right hand uppermost, the window/labium clearly depicted.
• Shepherd Recorder Player, oil on canvas, 75 × 60 cm, Giacomo Francesco Cipper (1664-1736). Ljubljana: Narodna Gallerija, Inv. S 982. A young shepherd wearing a floppy hat plays a tenor-sized cylindrical recorder with a flared bell. The labium/window are clearly shown and five fingerholes are visible, including all four for the lowermost (left) hand.
• Peasant Banquet with Young Flute Player / Merry Family, oil on canvas, 144 × 114 cm, Giacomo Francesco Cipper (1664-1736). Paris: Galerie Cannesso. Ref. Exibition Catalogue: TEFAF, Maastrict, 7-16 March 2008 (col.); Apollo (March 2008: col.); Constance Scholten ex Anthony Rowland-Jones (pers. comm., 2008). A young family are seated at a table on which is bread, a wedge of cheese and some walnuts. A man holding a stoneware jug points to his wife who smiles in our direction. A young girl seats in front of them eating soup from a bowl. Behind them is an old woman, and a young girl wearing a bonnet who plays a cylindrical, alto-sized recorder with a flared bell.
• Flute Player, engraving after an original attributed to Giacomo Francesco Cipper (1664-1736). Location unknown. Ref. Website: Instituto Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0028490. The sheet is numbered 29 and the bears the name "J.A. Barkworth", possibly the engraver. A young man in shabby dress plays a one-piece tenor recorder with a flared bell.
• Flute Player with a Girl, attributed to Giacomo Francesco Cipper (1664-1736). Location unknown. Ref. Website: Instituto Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 002829. A young lad plays a one-piece, tenor-sized recorder to a shepherdess in a straw hat.

Pieter Claesz. or Claese (also called Pieter Claexz. van Haarlem)

• Still-life, oil on canvas, 49.5 × 65 cm, Pieter Claesz (ca 1597/8-1661). Location unknown: formerly Sweden: Private Collection; auctioned by Phillips, London, 31 March 1992. Ref. Vroom (1980, 1: 27, fig. 22); Griffioen (1988: 438-439); Weltkunst 6: 745 (1992 - col.) Scattered on a table are a book open at pages headed Memento Mori, a candlestick and dying candle, playing cards, a glass roemer, a watch, a document with a seal, a human skull and thighbone, an hourglass, books, a lute and a cylindrical recorder. The body of the recorder is largely hidden by the book, but the beak, window/labium, and two lower finger-holes can be seen.
• Still-life, 80 × 112 cm, Pieter Claesz (ca 1597/8-1661). Paris: Leegerhoek Collection. Ref. Vroom (1980, I: 27, fig. 23); Griffioen (1988: 438-439). On a table are littered a skull, books, fruit, cakes and other food, a watch, a shell, an ornate chalice, drinking glasses, music, a violin, and a soprano hand-fluyt, the offset hole for the lowermost finger clearly depicted..
• Still-life with Musical Instruments (1623), oil on canvas, 69 × 122 cm, Pieter Claesz (ca 1597/8-1661). Paris: Louvre. Ref. Pincherlé (1959/1963: 83); Revue du Louvre 12: 180 (1962); Record Cover: Italian Virtuoso Music for the Violoncello, Das Alte Werk (Telefunken), SAWT 9548 (1969 – col.); Paris RIdIM (1999): Web Gallery of Art(2001); Rasmussen (2004, Lute). A table is littered with items of food (including a partly sliced loaf of bread and a tortoise, both on platters), a glass (seen in a mirror), a watch, books, papers, a lute, and a cello. The latter leans against a wall on which hang a violin, cornett and a cylindrical duct-flute, almost certainly a recorder (window/labium quite clear, and holes for six fingers, the lowermost occluded by the cello and its bow).
• Vanitas: A Corner of the Artist's Studio / Vanitas with the Spinario (1628), oil on panel, 70.5 × 80.5 cm, Pieter Claesz (ca 1597/8-1661). Amsterdam: Rijksmuseum, SK-A-3930. Ref. Vroom (1980, I: 27, fig. 25); Montagu (1976: 85, pl. XII – col.); Boydell (1982: 273, pl. LV – b&w); Griffioen (1988: 438-439); Francone et al. (1996: 29, fig. 16); Badiarov (2005: - col.) A still-life with a draped table on which stands a statue of a boy removing a thorn from his foot (a copy of a 12th century much-lauded statue also much copied in the 17th century), some books, a skull and cross-bones, an artist's palette and brushes, a pocket watch, and a large drinking glass. Scattered on the floor in the foreground lie a steel breastplate, some books of drawings – one open at a portrait of a female nude, a plume, a lute, violin, bass crumhorn, and the foot of a pipe which (given the double holes for the little finger of the lowest hand) appears to be a near-cylindrical soprano recorder.
• Still-life (1653), oil on canvas, 150 × 200 cm, Pieter Claesz (ca 1597/8-1661). Cologne: Wallraf-Richartz Museum 1505. Ref. Munich RIdIM (1999: KNwr - 28). A table is covered in food of various kinds – cruets, a wineglass, a jug, some flowers – and musical instruments – a cello, a violin and two very small flared-bell duct-flutes, close together and slightly obscured, one of which has seven finger-holes and thus probably represents a recorder. Notes (in part) by Anthony Rowland-Jones (pers. comm., 1999).
• Still-life, Pieter Claesz (ca 1597-1661). Paris: Collection Don Friedrich Unger. Ref. Rijksbureau voor Kunsthistorische Documentatie 544 (2001); Anthony Rowland-Jones (pers. comm., 2001). A still life with musical instruments, smoking equipment and an ? animal skin. The musical instruments include a recorder.
• Vanitas, Pieter Claesz (ca 1597-1661). The Hague: S. Nystad (dealer). Ref. Rijksbureau voor Kunsthistorische Documentatie 553 (2001); Anthony Rowland-Jones (pers. comm., 2001). A still-life which includes a copy of the classical sculpture of a boy pulling a thorn out of his foot, one of many such depictions of the original in the British Museum. A recorder rests with its bell end on the arm of a chair, its head on a table.
• Still-life, Pieter Claesz (ca 1597-1661). London: Richard Green (private collection). Ref. Rijksbureau voor Kunsthistorische Documentatie 17937 (2001); Anthony Rowland-Jones (pers. comm., 2001). Still-life with musical instruments, an open music-book, a silver saltshaker, pewter plates and dishes, wine-glasses, a loaf, notes, and an upside-down crab in a dish; also an alto hand fluyt, the head obscured but five finger-holes of which can be seen, including paired holes for the lowermost little finger.
• A Man and a Woman on Horseback in a Ford, black chalk, 15.5 × 14.1 cm, Nicolas Berchem (1620-1683) after Pieter Claesz (ca 1597-1661). Paris: Louvre, Print Collection, Inv. 22468. Ref. Paris RIdIM (1999). A man and a woman, both on horseback, pause in the middle of a river while their dog struggles valiantly shorewards. She sings from a manuscript; he accompanies on a slender, flared-bell pipe (possibly a duct-flute, perhaps a recorder).
• Vanitas Still-life, oil on panel, 50 × 68.5 cm, follower of Pieter Claesz (ca 1597-1661). Location unknown: Sotheby's (London), Sale, 20.10.2005, Lot 42. Ref. Vroom (1980: 21, fig. 22 - as by Pieter Claesz); Constance Scholten (pers. comm., 2009). On a table covered with a cloth is a jumble of vanitas objects including a candlestick with gutting candle, playing cards, a watch, an hourglass, a globe, the upper part of a human skull, a shell, a document, books (one open), an upturned goblet, a lute and a long, slender ?tenor recorder with a flared bell, the window/labium and three finger holes visible.

Jacques de Claeuw [Jacques Grief]

• Still-life with Violin (1641), 21.5 × 28 cm, Jacques de Claeuw (ca 1620 - p. 1694). Private collection. Ref. Haak (1984/1996: 437, fig. 959); Bol (1969: 97, pl. 82l); Griffioen (1988: 438-439). On a draped table are the upper part of a skull, a letter, a violin a candlestick, and a renaissance-style soprano/alto recorder, possibly with a metal-sheathed beak, the foot hidden behind the skull.
• Vanitas, Jacques de Claeuw (ca 1620-1694). Jacksonville, Florida: Cummer Gallery of Art. Ref. Nash (1972: pl. 152). A violin, a shawm, playing cards, a painter's palette, a globe, books, papers, hourglass, bell, and flowers, etc. lie tumbled in glorious disarray on a table. A small pipe (possibly a recorder) leans up against one of the books.
• Vanitas, Jacques de Claeuw (ca 1620-1694). Berlin: Gemäldegalerie. Ref. Munich RIdIM (1999: Bgd 26). Partly hidden by a book and a violin is an alto recorder with a metal (? brass) protective sleeve.
• Vanitas, Jacques de Claeuw (ca 1620 - p. 1694). Location unknown: formerly New York: Otto Naumann; sold Johnny Van Haeften, London (2006). Ref. Gabrius Data Bank (2001 - col.); Debra Pring (pers. commm., 2006). On a table covered in a dark cloth are scattered a globe, flowers, books, a skull, a letter, music, a violin and a renaissance-style recorder with a brass sheathed beak, the head and body with three finger-holes visible.
• Vanitas, oil on panel, 37 × 47 cm, Jacques de Claeuw (ca 1620 - p. 1694). Ref. Gabrius Data Bank (2002 - b&w.) A chipped giant roemer on a document leans against a row of books, with a skull, a ? rebec, a clay pipe, an extinguished candle and a flared-bell recorder with the beak, window/labium and all finger-holes clearly visible (including the lowermost offset).
• Vanitas, Jacques de Claeuw (ca 1620 - p. 1694). Ref. Gabrius Data Bank (2002 - b&w.) Location unknown. On a stone shelf lie a violin, a candle standing in a small frying pan, the upper part of a skull, a soprano sized flared-bell recorder, and an open book of music. The recorder's beak and windway, window/labium, and finger-holes are all clearly depicted.
• Vanitas, oil on canvas, 42 × 54 cm, follower of Jacques de Claeuw (ca 1620 - p. 1694). Location unknown: auctioned Sotheby's (London), Sale W0517, Old Master Paintings, 05 July 2005, Lot 492 (unsold). Ref. Sotheby's Catalogue, Sale W0517 (2005: Lot 492 - col.); Gabrius Data Bank (2007 - col.) A skull, candle, hourglass, pipe, shell, stalks of wheat, sheet of music, and a pipe with a flared bell on a wooden table draped with green velvet with bubbles above. Only the foot and lower section of the pipe with five finger-holes are visible; its holes are all in line. It may represent the chanter of a bagpipe rather than a recorder.

Jaques Claramunt (contemporary)

• Der Flötenspieler, bronze statue, Jaques Claramunt (contemporary). Ref. Windkanal 1-97: cover (1997 – col.) A young man sits on the ground and plays a long, cylindrical recorder. Used as an advertising insignia by Mollenhauer.

Greg Clarke

• Cover: American Recorder 39(3): Pan Playing (1994), Greg Clarke (contemporary). Pan plays a baroque recorder amongst a hilly landscape, his syrinx abandoned on the ground behind him.

Claude Gellée (Gellee or Gillee) [called Claude Lorrain(e), or Le Lorrain(e)]

• Pastoral Landscape with Piping Shepherd (ca 1635), Claude Gellée, 'Le Lorrain' (1600-1682). Nancy: Museum of Fine Arts. A shepherd plays an ambiguous pipe (possibly a recorder) with an unused offset hole for the little finger of the lowermost hand. There is a slight bell flare, but the instrument appears outwardly conical. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Italian Landscape at Dawn (1642), canvas, 97 × 131 cm, Claude Gellée, 'Le Lorrain' (1600-1682). Berlin: Gemäldegalerie, No. 448B. Ref. Staatliche Museen Preussischer Kulturbesitz (1968: 32); Bock, H. et al. (1986: 360-361, fig. - col.); Anthony Rowland-Jones (pers.comm., 2001) A woman dressed as a shepherdess sits on a rock listening to a shepherd playing a flared-bell pipe (recorder or shawm).
• Apollo and Mercury (1677), pen drawing and wash, Claude Gellée, 'Le Lorrain' (1600-1682). Berlin: Staatliche Museen Preußischer Kulturbesitz, Kupferstichkabinett. Apollo, required to guard a herd of cows (the flocks of Admetus), has an ambiguous pipe in his hand of which only the markedly flared bell end is visible. In a variant of this in Holkham Hall Apollo plays a viola da braccio. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Apollo and Mercury (1677), medium brown and grey ink and wash on paper, Claude Gellée, 'Le Lorrain' (1600-1682). Location: Private Collection. Ref. Bridgeman Art Library (2003: Image AGN 95222 - col.) Sitting by a stream, Apollo, required to guard a herd of cows (the flocks of Admetus), plays a slender pipe (very much like a recorder) with a slightly flared bell. In the background Mercury is stealing the cattle. There are very few pictures of Apollo, the slayer of Marsyas, descending to such depths, even disguised as a shepherd!
• River Landscape with a Goatherd piping (1635-1636), oil on canvas, 38 × 49 cm, Claude Gellée,'Le Lorrain' (1600-1682). Oxford: Ashmolean Museum A969. Ref. Roethlisberger (1961: no. 215). Seated amongst his animals beside a river amidst a luxuriant wooded landscape a goatherd play a small flared-bell recorder, right-hand down, the hole for the little finger of the lowermost hand clearly visible. This work has close affinity with a landscape in the Metropolitan Museum, New York, signed and dated 1636.
• Youth playing a Pipe in a pastoral Landscape (1640s), black chalk with pen, brown ink & pale brown wash on pale beige paper, 182 × 238 cm, Claude Gellée, 'Le Lorrain' (1600-1682). Oxford: Ashmolean Museum, WA1855.65. Ref. Whiteley (2000: 238); Parker I (1938: 424). Seated with his animals beside a river amidst a lightly wooded landscape a shepherd plays his pipe.
• Landscape with Mercury and Argus, drawing, Claude Gellée, 'Le Lorrain' (1600-1682). London: British Museum, Malcolm Collection. Ref. Royalton-Kisch et al. (1996: 113, pl. 55); Rowland-Jones (2008b: 17, fig. 7). Mercury lulls Argus to sleep by playing on a narrow flared-bell pipe (shawm or duct-flute, possibly a recorder).
• Landscape with Mercury and Argus, 57.5 × 73.8 cm, Claude Gellée, 'Le Lorrain' (1600-1682). Location unknown: Offered for sale by Sothebys, London, 27 March 1974. Ref. Paris RIdIM (1999). Beside a temple in front of a small pond, surrounded by sheep, goats and cows, and watched by Io (whom Jupiter has turned into a white heiffer), Mercury lulls Argus to sleep by playing on a narrow flared-bell pipe (shawm or duct-flute, possibly a recorder).
• Mercury and Argus (1662), Claude Gellée, 'Le Lorrain' (1600-1682). Ann Arbor: The University of Michigan Museum of Art, Accession No. 1949/1.150. Ref. Website: The University of Michigan Museum of Art. Before a temple in front of a stream beside which cattle graze, and watched by Io (whom Jupiter has turned into a white heiffer), Mercury lulls Argus to sleep by playing on a narrow flared-bell pipe (shawm or duct-flute, possibly a recorder). Mercury, as a shepherd in disguise, has discarded his winged sandals (and his sleep-inducing caduceus), but not the winged petasus on his head. A dagger can be seen behind Mercury in readiness to turn sleep into death. Lully tells the story memorably in Isis (1677).
• Mercury and Argus (1662), drawing, Claude Gellée, 'Le Lorrain' (1600-1682). Ann Arbor: University of Michigan Museum of Art. Ref. Rowland-Jones (2009: 244, fig. 11 - detail). On the edge of a glade, watched by Io (whom Jupiter has turned into a white heiffer), Argus falls asleep as Mercury pipes on a slender flared-bell pipe (possibly a recorder). Cattle graze in the distance. Mercury, as a shepherd in disguise, has discarded his winged sandals (and his sleep-inducing caduceus), but not the winged petasus on his head; his dagger lies behind him. This is much finer work than the above.
• Mercury and Argus (1802-1810), mezzotint and etching on wove paper, 22.2 × 30.5 cm, Richard Earlom (British, 1743-1822) after Claude Gellée, 'Le Lorrain' (1600-1682). New York: Great Modern Pictures, Romantic Affinities, Rare and Important Original Antique Prints 1775-1850, Item 19 (2009). (2009). Ref. Liber Veritatis Or, A Collection of Two Hundred Prints … Executed by Richard Earlom (1802-1810), published by John Boydell, Cheapside. On the edge of a glade, watched by Io (whom Jupiter has turned into a white heiffer), Argus falls asleep as Mercury pipes on a slender flared-bell pipe (possibly a recorder). Cattle graze in the distance. Mercury, as a shepherd in disguise, has discarded his winged sandals (and his sleep-inducing caduceus), but not the winged petasus on his head; his dagger lies behind him. The original drawing by Claude is in the University of Michigan Museum of Art, New York (see above).
• Landscape with the Metamorphosis of the Shepherd Apulo (? Apulius), Claude Gellée, 'Le Lorrain' (1600-1682). Merton: Duke of Sutherland's Collection. At the right are a tambourine, flute (with a flared bell as in other Claude pictures), double pipe/aulos ; on the left is a soprano duct-flute (possibly a recorder) and a small frame drum. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• View of Delphi with a Procession, Claude Gellée, 'Le Lorrain' (1600-1682). Rome: Galleria Doria Pamphili, Cat. i32. Ref. Postcard: Galleria Doria Pamphili (2002 - col.); Anthony Rowland-Jones (pers. comm., 2002). In the foreground a shepherd sits on a parapet at the end of a bridge with a pipe. There is a slight bell flare, but the instrument appears outwardly conical. A copy by Claude of an original now in the National Gallery, London. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Landscape with Satyrs and Dancing Nymphs, Claude Gellée, 'Le Lorrain' (1600-1682). Switzerland: Private Collection. A seated nymph plays a pipe with a flared bell. Two of the satyrs in the musical group could be playing duct-flutes (flageolets or recorders). Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Landscape with the Temple of the Sybil at Tivoli, Claude Gellée, 'Le Lorrain' (1600-1682). Melbourne: Art Gallery of Victoria. A cow herd seated with a girl on the left plays a pipe (possibly a duct-flute). The lowermost (left) hand is in the correct position for playing a recorder; the mouth piece is beaked; and there is a sudden sharp bell flare. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Landscape with the Rest on the Flight to Egypt (1647), Oil on canvas, 102 x 134 cm Claude Gellée, 'Le Lorrain' (1600-1682). Dresden: Gemäldegalerie. Ref. Anthony Rowland-Jones (pers. comm. 1999); Rowland-Jones (1999d: 125, fig. 5 – b&w); Web Gallery of Art (2001). At the edge of a forest, on a bank beside a pool at the side of a river, a shepherd plays a cylindrical pipe (probably a duct-flute since all but the third finger of the lowermost (right) hand cover their holes) to a young woman who sits leaning wearily on her staff, a basket beside her. A young woman fills a pitcher with water from a culvert. Two cows drink from the pool. Rowland-Jones (1999d) suggests that the young man "is entirely occuped in playing his pipe to a seated shepherdess." Behind, in the shadows amongst the trees is the Holy Family with the Virgin and Child on a donkey led by an angel.
• Shepherd teaching a Shepherdess the Use of the Pipe, drawing, Claude Gellée, 'Le Lorrain' (1600-1682). London: British Museum, H. 213. Ref. Warburg Institute, London. A young woman practices on a flared-bell duct-flute (flageolet or recorder) under the instruction of a young shepherd who sits beside her beneath a tree.
• Le Bouvier [The Herdsman], Claude Gellée, 'Le Lorrain' (1600-1682). Ref. Website: The University of Michigan Museum of Art, Accession No. 1949/1.149. A herdsman sits on a bank playing an ambiguous pipe to cattle grazing a pasture before a house.
• Dawn, Claude Gellée, 'Le Lorrain' (1600-1682). Turin: Pinacoteca Nazionale. Ref. Daudy (1967); Liesbeth van der Sluis (pers. comm., 2001). Amidst a landscape around an ocean bay, with one big tree and flat red soil a goatherd plays a long duct-flute (possibly a recorder), sitting on a stone (van der Sluis, loc. cit.)
• Italian Landscape (1648), oil on canvas, Claude Gellée, 'Le Lorrain' (1600-1682). St Petersberg: Hermitage. Ref. Exhibition, French Drawings and Paintings from the Hermitage: Poussin to Picasso, Hermitage Rooms, Somserset House London (2001-2002); Anthony Rowland-Jones (pers. comm., 2001). "At the bottom right of this medium-sized canvas there is a group of three figures, being a cowherd with a staff (and cows) and two seated girls. The cowherd is instructing one of the girls in playing a tenor-sized 'pipe' (so described in the wall caption). She has both hands on, left hand uppermost, in good recorder-playing position. No details of the instrument are visible, but it is mainly cylindrical with only a slight bell flare" (Rowland-Jones, loc. cit.)
• A Shepherd Playing the Flute, A Shepherdess and Two Goats On Rocks, drawing, Claude Gellée, 'Le Lorrain' (1600-1682). Location unknown: auctioned 11 April 2002 (sold). Ref. Gabrius Data Bank (2002 - col.) A shepherd wearing a wreath plays a flared-bell pipe (possibly a recorder) to a shepherdess. They and their two goats are seated on rocks.
• The Landing of Aeneas (1675), Claude Gellée, 'Le Lorrain' (1600-1682). Lode, Cambridgeshire: Anglesey Abbey (Collection of Lord Fairhaven), Lower Gallery. Ref. Anthony Rowland-Jones (pers. comm., 2003). The painting is the one on the right-hand side in the above photograph. A pastoral scene with a lake and classical ruins. Beneath the ruins on the left of the painting is Aeneas. At the bottom right are a seated shepherd with a crook and a seated shepherdess in a blue dress playing a small pipe. The latter is cylindrical but with a slight bell flare, and all fingers of both hands touch the instrument so no holes are visible, nor is the window/labium as the detail is too small to show one. It is not impossible that Claude might have intended this to represent a recorder.
• Pastoral Landscape (164[5?]), Claude Gellée, 'Le Lorrain' (1600-1682). Birmingham: Barber Institute of Fine Arts. Ref. Anthony Rowland-Jones (pers. comm., 2004). Claude also made a drawing from this composition in his Liber Vertitatis (British Museum, No. 93). The usual misty lights with distant mountains and a town with a castle. In the middle ground is a bridge over water which feeds a lake beyond the meadows where a cow and goats graze, looked after by a standing shepherdess in a red dress. Another seated shepherdess in a blue dress sits playing a pipe, taught by a kneeling shepherd. The pipe is of alto size, its beaked end just touching her lips (but no sign of a window/labium). It is almost cylindrecial with a very slight outward conicity to a more strongly flared bell. All the players fingers are on with the uppermost (left-hand) little finger supporting the side of the pipe, and the lowermost (right-hand) little finger in the offset hole position, immediately below which is an incised decorative ring before the start of the flare. Her wrists are in excellent recorder-playing position. The group is by a tree at the left of the landscape. This work was painted for the Marquis de Fourenay, French Ambassador in Rome.
• Liber Veritatis: Pastoral Landscape (164[5?]), acquatint in sepia, Claude Gellée, 'Le Lorrain' (1600-1682). London: British Museum, No. 93. Ref. Anthony Rowland-Jones (pers. comm., 2004). A drawing from Claude's painting, Pastoral Landscape (Barber Institute of Fine Arts, Birmingham).
• Landscape with Peasants and Cattle (1776), mezzotint and etching on wove paper, 20.6 × 25.9 cm , Richard Earlom (British, 1743-1822) after Claude Gellée, 'Le Lorrain' (1600-1682). Ref. Liber Veritatis Or, A Collection of Two Hundred Prints … Executed by Richard Earlom (1802-1810: pl. 121), published by John Boydell, Cheapside. Ann Arbor: The University of Michigan Museum of Art, Accession No. 1930/19. Ref. Website: The University of Michigan Museum of Art. In the foreground a shepherd seated beside a stream plays a cylindrical pipe to a shepherdess who stands beside him. In the midground cattle graze. In the distance are ruins.
• Pastoral Landscape with Lake Albano and Castel Gondolfo, Claude Gellée, 'Le Lorrain' (1600-1682). Cambridge: Fitzwilliam Museum. Ref. Rowland-Jones (2005: 36-37 & ill. 6 - b&w). Castel Gandolfo was the Pope's country residence. Two shepherds and a shepherdess stand listening two a seated shepherd and shepherdess playing flute and what is probably a recorder respectively. It is said that Claude showed the instruments more clearly than usual because the paointing was for a music lover, Pope Urban VIII.
• Unknown, engraving by John Boydell (1774) after Claude Gellée, 'Le Lorrain' (1600-1682). Cambridge: Garden House, corridor between pool and bar. Ref. Anthony Rowland-Jones (pers. comm., 2002). One of two copies of engravings after original drawings owned by the Duke of Devonshire rather than originals, dated 1774. A group of five figures at centre lower right, with sheep and cows on a neighbouring bluff overlooking a lake in a hollow with steep cliffs around it. A shepherd and two shepherdesses stand idly in their usual way, but two seated shepherdesses with them have pipes. The first holds hers in one hand, not playing, but looking at the other; her instrument has a very marked bell-flare – probably a shawm. The other shepherdess plays her pipe (left hand lowermost) which is only slightly outwardly conical with a slender mouthpiece, in fact almost cylindrical until a slight bell-flare. Between the bell end and her lower hand a hole, offset to the player's left, is clearly visible and could be a little-finger offset hole. No other details are visible. Claude is a rather careless delineator of his shepherds' pipes, but it is just possible that a recorder was in mind. Notes by Rowland-Jones (loc. cit.)

William J.M. Clayton

• Still-life, Wiliam J.M. Clayton (contemporary). Location unknown; formerly Greystoke Ghyll: Beckstones Art Gallery. Ref. Website: Beckstones Art Gallery (2005 - col.) On a table covered with a blue cloth are a glass of wine and a bottle, a score of Beethoven waltzes, a bugle, a violin and a soprano recorder of modern two-piece design. There is a green drape in the background.
• Still-life, Wiliam J.M. Clayton (contemporary). Location unknown; formerly Greystoke Ghyll: Beckstones Art Gallery. Ref. Advertisement, Beckstones Art Gallery (2005). Hanging from a panel are a violin and bow and a music score. On a small ledge below are a modern clarinet and a soprano recorder of modern two-piece design.

Clement de Jonghe – See Paulus Pieterz. Potter

Hendrick de Clerck

• Adoration of the Shepherds, oil on panel, Hendrick de Clerck (?1570-1630). Ref. Gabrius Data Bank (2001 - col.) Winged putti (not just heads) hover above. An angel points towards the Christ-child as Mary draws back his cover and Joseph look on in wonder. On either side, two of the shepherds kneel in adoration. The shepherd on the left of the picture has a long staff over his shoulder; beside his purse hanging from his belt is what appears to be a small cylindrical duct-flute, the window/labium is visible, although no finger-holes are indicated. In the background, a shepherd hastens to the scene. In the foreground, a dog sniffs at a sleeping piglet. Auctioned 13 December 2000, sold (Gabrius, loc. cit.)
• Adoration of the Shepherds, oil on panel, Hendrick de Clerck (?1570-1630). Ref. Gabrius Data Bank (2001 - col.) Winged heads (without bodies) hover above. An angel points towards the Christ-child as Mary draws back his cover and Joseph look on in wonder. On either side, two of the shepherds kneel in adoration. The shepherd on the left of the picture has a long staff over his shoulder; beside his purse hanging from his belt is what appears to be a small cylindrical duct-flute, the window/labium is visible, although no finger-holes are indicated. In the background, a shepherd hastens to the scene. In the foreground, a dog sniffs at a sleeping piglet. Auctioned 12 March 1998, unsold (Gabrius, loc. cit.)

Joos van (or Joos van (der Beke) Cleve (or Cleef)

• The Nativity Shepherds, Joos van Cleve (1480/90-. 1540/41). Munich: Bayerische Staatsgemäldersammlungen, 6667. Ref. Munich RIdIM (1999: Mstag 136). Mary uncovers the Christ-child for his admiring visitors who include three shepherds and a young child. A bearded sheperd with a white hood (centre right) holds a long cylindrical duct-flute (flageolet or recorder) of which the window/labium and very pointed beak are clear. Beneath his hand can be seen five large finger-holes. There is a single incised ring at the foot of the instrument. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Mystic Marriage of St Catherine (1514), Joos van Cleve (1480/90-. 1540/41). Nancy: Musée de Beaux Arts. Ref. Anthony Rowland-Jones (pers. comm., 2003). An angel with huge pale blue wings at the centre plays a long mainly cylindrical pipe with a gradual but then quite marked bell falre. No window/labium is visible, but the playing position and relaxed lips suggests a duct-flute. The pipe is held right hand uppermost with the little finger away from the instrument. Five finger-holes are visible between the left and right hands, one (or two) being under the right hand. The little finger of the left hand appears to be covering a hole. No other instruments are depicted in this picture, so the pipe may be symbolic of heavenly marriage, in which case it could well be a recorder.

Francis [Franz] Cleyn

• Musica (1645), etching, Francis Cleyn (1582-1658). New York: Public Library. Ref. Beck & Roth (1965: 26, fig.) From a set of allegorical representations of the Seven Liberal Arts. Muisca's places is shown by a trio of performers: a young lady lutenist and a gentleman fluatist accompanying a singing boy. They are surrounded by instruments, including a curved cornett, shawm, violin and a small ambiguous pipe lying on the floor; and a harp, cittern, shawm, flute and recorder arranged in a trophy on the wall. The recorder is very long and has a widely flared bell. The window/labium is clearly depicted.

John Closterman (also spelled Cloosterman, or Klosterman)

• The Children of John Taylor of Bifrons Park (?1696), oil on canvas, 18.98 × 27.18 cm), John Closterman (1656-1711). London: National Portrait Gallery, NPG 5320. Ref. Moeck (1983: May – col.); Recorder & Music 7(4): front cover (1981); Recorder & Music 13(1): front cover (1993). In this great family portrait the Taylor family's motto 'Fame is sweeter than the white rose' is used here as an organising motif. The oldest child Mary, seated centrally, holding a cornucopia of flowers, extends a white rose to her brother Nathaniel. The toddler below Nathaniel is Bridges; he offers a rose to the youngest child, Upton, who is supported by his brother John. On the left side, Olive and Margaret crown their brother Brook with laurel. Brook (1685-1731), holds an elaborately turned baroque-style recorder with ivory mounts that symbolises family harmony. Two of his older sisters, Olive and Margaret (depicted as heraldic figures) hold a laurel wreath above his head. Although only 11 years old, Brook was already a virtuoso on the recorder. In later life he became a distinguished mathematician.

John Cluer

• Title Page:Alexander, Handel (1726), engraving, printed and sold by John Cluer (?-1728), London, England London: British Museum; Paris: Bibiothèque Nationale, Department of Music. Ref. Mirimonde (1974: 182, pl. 142); Fraenkel (1968: pl. 153); Archiv Moeck; Paris RIdIM (1999). A personification of Music, seated, plays the harp. Above her are a trumpeting angel and putti; beside her a putto sings from a part book. Various instruments are littered about including an organ, timbrel, oboes, viol and a turned baroque three-piece recorder. This is a pastiche: the central figure of Music and the singing putto, and the collection of instruments on the ground are from Mignard's St Cecilia playing the Harp (1691). This design was used again for the title page of Handel's Admeto (1727).

Charles Nicolas Cochin, the younger

• Telemachus entertaining shepherds by playing the flute (1773), drawing, 21 × 31.8 cm, Charles Nicolas Cochin, the younger (1715-1790). Paris: Musée du Louvre, Inv. RF 14881. Ref. Joconde Website (2007 - col.) Telemachus was the son of Odysseus and Penelope in Greek mythology whose story is told in the Iliad and Odyssey. In this picture Telemachus sits on a pile of rocks in front of a temple playing his flute, surrounded by enraptured shepherds and shepherdesses and their animals. Cochin's image may have been inspired by Francois Fénelon’s Les aventures de Télémaque (1699) which was amongst the most read literary work of 18th century.

Hieronymous Cock

• Hearing (ca 1560-1570), painting, Hieronymous Cock (ca. 1510-1570). Location unknown. Ref. Munich RIdM (1999: Ngm 811). A personification of hearing stands in a landscape playing a lute and surrounded by musical instruments littered around her on the ground. Amongst the latter are a harp, viol, flute, double pipes and a recorder with a flared bell. There is also a copperplate version (see below).
• Hearing (ca 1560-1570), copperplate, Hieronymous Cock (ca. 1510-1570). Nuremburg: Germanisches Nationalmuseum, HB 27178. Ref. Munich RIdM (1999). Includes a recorder. Copied from an original painting (see above).

Jan Wellens de Cock

• The Temptation of St Anthony (ca 1520), Jan Wellens de Cock (op. 1506 – ca m.a. 1529). Madrid: Prado, Thyssen Collection, Inv. 93. Ref. Anthony Rowland-Jones (pers. comm., 2001). “A winged devil sits on a cut tree trunk playing what in most respects looks exactly like a recorder. It has a bell end of the Virdung design, and the hand and finger positions are correct, left hand lower with outstretched little finger. The mouthpiece end of the instrument, however, is the devil's nose” (Rowland-Jones loc. cit.).

Jean Cocteau

• Faun Playing a Flute (1959), pastel, Jean Cocteau (1889-1963). Location unknown: Auctioned 17 March 2000 (unsold). Ref. Gabrius Data Bank, 20th Century (2002 - col.) The head of a wild-haired faun holds to his mouth a short conical pipe with five (possibly six) finger-holes visible but no window/labium.
• Faun Playing a Flute (1959), mixed media, 27 × 21 cm, Jean Cocteau (1889-1963). Location unknown: Claeys Gallery (2009 - col.) A faun with enormous ears sits playing a stylised conical pipe – clearly a duct-flute, given the title.

Pieter Jacobtz Codde

• The Party (1636), 48 × 75 cm, Pieter Jacobtz Codde (1599-1678). The Hague: Mauritshuis. Ref. Bernt (1948, 1: pl. 187); Griffioen (1988: 438-439); Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). A man beside a woman lutenist plays a soprano recorder, right hand lowermost. All the fingers (including the little finger) of his lower hand are lifted showing holes four, five and six (seven is not visible). The window/labium is not visible. There is a short bell flare with a possible incised ring. He plays from the side of his mouth, perhaps to avoid the lutenist's arm. Nearby, leaning against a table is a beautifully painted cello, and on the floor are lute and violin and a book of music dated 1636. In the centre a woman dances.
• Pallas Athena with the Muses, Pieter Jacobtz Codde (1599-1678). Bremen: Kunsthalle. Ref. Munich RIdIM (1999: BMkh 23). No instruments are played or held, but there is a pile of instruments on the ground at the bottom right of the picture. Four of these are woodwind instruments, including a cylindrical alto recorder. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Musical Gathering, oil on panel, 32.5 × 42 cm, Pieter Jacobtz Codde (1599-1678). Frankfurt: Städelsches Kunstinstitut: Städtische Galerie, SG 509. Ref. Munich RIdIM (1999: Fsm 18). Musicians seated around a table sing and play lutes and a cylindrical slightly flared-bell pipe with no visible window/labium or finger-holes, though the left hand little finger position suggests a recorder. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Pieter Coecke (Cock; Coeck; Coeke; Kock; Koecke) van Aelst [van Alost]

• Lust (1540-1550), cartoon of tapestry from The Seven Deadly Sins (also known as the Tapestry of the Dance), Pieter Coecke van Aelst (1520-1556). Brussels: Royal Museum of Art and History. Ref. D'Hulst (1967: 203-212). Lust rides on a chariot drawn by a seven-headed monster. In one hand she holds high her cup of abominations; in the other is a mirror. At her feet lies a lute. The side of her chariot is decorated with musical instruments – a lyre, a Renaissance fiddle crossed with its bow, two crossed shawms tied with a ribbon and two duct-flutes (flageolets or recorders, one with six holes visible) tied with ribbons. Note by A. Rowland-Jones (pers. comm.)
• The Seven Deadly Sins: The Triumph of Lust (ca 1542-1544), tapestry, 459 × 832 cm, designed (ca 1532-1533) by Pieter Coecke van Aelst (1520-1556). Woven in Brussels (ca 1542–1544). Madrid: Patrimonio Nacional, Palacio Real de Madrid. Ref. Exhibition, Tapestry in the Renaissance: Art and Magnificence, Metropolitan Museum of Art, NY (2002). Lust rides on a chariot drawn by a seven-headed monster. In one hand she holds high her cup of abominations; in the other is a mirror. At her feet lies a lute. The side of her chariot is decorated with musical instruments -- a lyre, a Renaissance fiddle crossed with its bow, two crossed shawms tied with a ribbon and two duct-flutes (flageolets or recorders, one with six holes visible) tied with ribbons.

Marcellus Coffermans (op. 1530 - p. 1578), Flemish

• Holy Family with Angels, painting, Marcellus Coffermans (op. 1530 - p. 1578). York: City Art Gallery. "Putti play a little lute (left-handed) and a tiny recorder" (Rasmussen, loc. cit.) X (1951) notes that the putti are the reverse of the putti in Mabuse's Virgin and Child (Palermo).

Evert (also Edward/Edwaert/Edwart/Evaert/) [Pietersz.] Collier (Colÿer/Collyer/Colyer/Kollier/Coleyn etc.)

• Vanitas (1672), oil on canvas, 166.3 × 136.5 cm, Evert Collier (ca 1640 – 1708). London: Christies, Sale 7294, Old Master Pictures, 7 December 2006, Lot 28; formerly on loan to the Minneapolis Institute of Art (1989-); auctioned in New York by Christies, Important Old Master Paintings, 25 May 1999, Lot 10. Ref. Thieme & Becker (1992, 6: 263); Legêne (1993: 103-104, colour illustraton); Legêne (1995: 107); Grijp (1998: 38, no. 6, fig. 68 - detail); Bouterse (2001); Gabrius Data Bank (2004 - col.); Artfact (2004). An early work by Collier, and the format and size of the painting are also unique, suggesting that it may have been a specific commission or possibly produced for a special occasion. The only other paintings of similarly large size are also early works, and there is a marked difference in the high quality of these paintings compared to many of the later works on a smaller format, some of which have the appearance of studio assistance. A similarly composed painting by Collier, signed and dated 1662, of horizontal format (102.5 × 132 cm.), is in the Rijksmuseum, Amsterdam (Inv. A3471). The present painting depicts a globe, a casket of jewels and medallions, books (including a theological tome open at a chapter headed JERUSALEM), a hurdy-gurdy, a bagpipe, a lute, a violin, a silver tazza, a roemer, a nautilus shell, a shawm, a globe, a print with a self-portrait of the artist and a musical score on a draped table, a curtain with tasseled drapes above. A slip of paper tucked between the pages of a Bible is inscribed VANITAS VANITATUM ET OMNIA VANITAS. There are two recorders of renaissance style: one is a tenor with a metal-sheathed beak, the foot hidden beneath a book; the other is a basset (standing on top of the hurdy-gurdy) with a fontanelle and swallow-tail key. The musical score is a copy of Questa dolce sirena from Jacob van Eyck's Der fluyten lusthof (1644-ca 1655). Similar instruments to the tenor recorder are depicted by van Steenwijk, Vermuelen and Vliet. Sold for US$442,500 (Gabrius, loc. cit.) Note that Legêne (loc. cit.) and Bouterse (loc cit), following her, give the date of this work as 1662, but there is an obvious error in Legêne's arithmetic.
• Still-life (1690), panel, 41 × 52 cm, Evert Collier (ca 1640 – 1708). The Hague: Hoogsteder. Ref. Vroom (1980, 2); Legêne (1995: 119, pl. 7). On a draped table lie a globe, an hourglass, a skull, a watch, a lute, an oboe, a violin and bow, a bassoon, and a hand-fluyt with ornamental incisions on the bell.
• Vanitas (1691), oil on linen, 77 × 65 cm, Evert Collier (fl. 1640-1707). Castres: Musée Goya. Ref. Moeck (1983: front cover – col.); Early Music 16(3): 333 (1988); Moeck, Celle: Tibia – Musikbilder auf Postkarten, Series 3, Nr 4 – Ed. Moeck Nr. 11103 (1987 – col.); Francone et al. (1996: 33, fig. 20); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are a lute, oboe & guitar, a book open at a page inscribed MUSICA LETITIA [sic.] COMES MEDICINA DOLORUM from beneath which the head of a baroque recorder (with ivory mounts) projects, a compass, a globe, an hour-glass, and an open score of a Menuet.
• Vanitas: Allegory of Art, Evert Collier (ca 1640 – ? 1710). Location unknown: Private collection. Ref. Francone et al. (1996: 33, fig. 20 - b&w); Angelo Zaniol (pers. comm., 2003). On a shelf are a book with a ticket, another open at a page inscribed MUSICA LETITIÆ COMES MEDICINA DOLORUM, an open score of a Menuet, a violin and bow, an oboe (with an elaborate ivory ferrule on the foot-joint), and a turned baroque recorder with ivory beak and ferrule only the head and first two finger-holes of which are visible.
• Letter Rack (ca 1698), oil on canvas, Evart Collier (fl. 1640-1707). Adelaide: Art Gallery of South Australia. A still-life showing a letter rack with letters, scissors, quill, wax, combs music (a Menuet, perfectly legible), and a 4-holed flageolet (not a recorder) with ivory mounts.
• Vanitas / A Miscellany of Musical Instruments (after 1702), 97 × 123 cm, Evert Collier (ca 1640 – ? 1710). Location unknown: auctioned Galerie St Lucas, Vienna (1973). Ref. Crawford Sale, Christie's (11 October 1946); Galerie St Lucas, Vienna, Auction Catalogue (1973/4: 22); Rasmussen & Huene (1982: 35, fig 11 - b&w – caption in error); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table lie a globe, a elaborately decorated nautilus cup, a ornamental glass goblet, a plate of peaches, a book with a ticket reading MUSICA LETITIÆ COMES MEDICINA DOLORUM, a watch, a book open at a chapter entitled "The Geographical Grammar by PAT. GORDON MA and Fellows of the ROYAL SOCIETY for the Right Hnourable THOMAS Earl of Coventry", an open music book, an oboe only the foot of which is visible, a violin and bow, a bassoon, a bagpipe, and a baroque-style recorder with ivory mounts, made of wood stained to imitate tortoise shell (only the head and centre joint visible. This work has been attributed to Cornelis Brize (1622 – 1670/1679+). Gordon's Geographical Grammar was first published ca 1702, which suggests a forward date for this painting.
• Vanitas still-life (1684), oil on canvas, 35.5 × 30.5 cm, Evert Collier (ca 1640 – 1708). Honolulu: Academy of Arts; formerly Recklinghausen: Private collection; sold at Maastricht 2006 to Johnny Van Haeften; auctioned Sotheby's (London), 8 December 2005, Lot 124 (sold). Ref. Bernt (1969, 1: 247); Grijp (?date: 37); Fischer (1972: 95-97, pl.-b&w); Fischer (1975: 70); Vroom (1980, II: 44); Griffioen (1988: 438-439); Griffioen (1991: 64-65, fig. 3.9 – b&w); Debra Pring (pers. comm., 2006). The artist sits at a draped table on which are scattered a skull, a cap (with a blue feather), a globe, books (one open), a smoking pipe, a taper (lit), a goblet, and three instruments including a violin (with a broken top string), the head and body of a one-piece recorder (of which the maker's mark is visible), and the body of a transverse flute, showing six finger-holes and a metal ferrule at the foot. The artist holds in one hand his palette and in the other a portrait sketch of a woman (probably one of his deceased wives, or the one who was alive at the time, portrayed together with himself to intimate the brevity of life for both of them, as seen on the piece of paper sticking out of a book: 'Vita brevis ars longa'). Slipping off the table underneath the violin and recorder is a book of music open at a page headed 'TANNEKEN by Jacob van EYCK'.
• Vanitas (1664), oil on canvas, 50.5 × 60 cm, Evert Collier (fl. 1640-1710). Leiden: Museum de Lakenhal, Inv. 237. Ref. Exhibition Catalogue: Mens en Muziek, Dordrechts Museum (1957: No. 12); Museum de Lakenhal (1970: 9); Museum de Lakenhal, Catalogue (1984: pl. 96); Haak (1984/1996: 437, pl. 958); Jongh (1982: 15, #40); Exhibition catalogue: Still Life in the Age of Rembrandt, Auckland (1982); Griffioen (1988: 438-9); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003); Website, Bibliopolis: Images (2007 -col.) On a draped table are astronomical and terrestrial globes, a purse, a watch, two open books, an open copy of the song-book Cupidoos Lust-hof [Cupid's Pleasure Garden] from 1662, a music book, a violin and bow and an alto-sized renaissance-style recorder with a metal-sheathed beak, the foot hidden beneath one of the books. A ticket attached to the terrestial globe reads VANITAS VANITATUM ET OMNIA VANITAS. The left-hand book is Flavius Josephus's Van die Joetsche oorloghe, ende Destructie van Jerusalem [The Jewish War and the Destruction of Jerusalem], probably from 1553, the other is Eerste weeck der scheppinghe des werrelts [First Week of the Creation of the World] by Du Bartas from 1622.
• Vanitas Still Life, oil on canvas. 125 × 100 cm, Evert Collier (fl. 1640-1710). Ref. Website: Storm Fine Arts (2001); Gabrius Data Bank (2001 - b&w). A candlestick, musical instruments, books (including one open at a chapter entitled "A Description of the WORLD", an open jewellery casket, a watchglass, a terrestrial globe, a musical score and a print of Van Dyck's Self Portrait, all on a table. A ticket reads Vita Brevis, Ars Longa. The musical instruments are a violin and a baroque boxwood recorder with ivory mounts and beak. Auctioned 14 April 1999, sold (Gabrius, loc. cit.) Auctioned by Sotheby's, London on 4 July 2002; currently advertgised for sale by Storm Fine Arts!
• Vanitas, Evert Collier (fl. 1640-1710). Madrid: Antique Fair, auction (a. 1993). Ref. Auction Catalogue (1993: col.); Letter: Beryl Kenya de Pascual to Ruth van Baak Griffioen (1993). On a table with a drape lie jumbled together an ornate goblet, hourglass, skull (upper part only), books, music, a watch, a globe, a lute, violin, and a flared-bell recorder only the body and foot of which are visible. Although only six finger-holes are visible, the lowermost is offset for the little finger.
• Vanitas, Evert Collier (fl. 1640-1710). Munich: Bernheimer (dealer). Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague, 36578 (2001); Anthony Rowland-Jones (pers. comm., 2001). A still-life with a globe, an open book, a lute and a recorder. Only the head of the recorder is visible, encased in a brass sheath
• Vanitas, oil on canvas, Evert Collier (ca 1640 – 1708). London: Bonhams. Ref. Gabrius Data Bank (2001 - b&w); Bridgeman Art Library (2003: Image BON 19032 - col.) Beneath what looks like a draped orange and white flag, astrological and terrestial globes, travel and music books, a letter with a wax seal, a writing set, a watch, an hourglass, a shawm (or oboe), a violin, a lute, and the head of renaissance recorder with a metal sheath covering beak and one finger-hole visible. One of the books is open at a map of the world; the other at a chapter entitled HOLLANDT. Auctioned 17 December 1998, unsold (Gabrius, loc. cit.)
• Vanitas, oil painting, 62.5 × 75 cm, Evert Collier (ca 1640 – 1708). London: Bonhams, Adams Collection, Part III – Important Early European Works of Art, Sculpture and Maiolica, 22 February 1996, Lot 342. Ref. Artfact (2003). Still life, peaches on pewter dish, nautilus cup, recorder.
• Vanitas (1693), oil on panel, Evert Collier (ca 1640 – 1708). Locality unknown: formerly sold by Lord Carrington, London, 4 May 1951. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague, Negative 902703; Gabrius Data Bank (2001 - b&w); Ruth van Baak Griffioen (pers. comm., 2003). Signed "E. Colier fec. Ano 1693)". On a draped table before a column lie a terrestial globe, a score a closed book, books (one of which is open at a chapter entitled A COLLECTION OF EMBLEMS ANCIENT AND MODERNE), various papers, a shawm (of which only the foot and lower body are visible), a flute (with brass ferrule at foot) and, projecting from underneath the books, a renaissance-style recorder with a brass-sheathed beak, the window/labium and two finger-holes clearly visible. A ticket between the pages of one of the books reads VANITAS. Another, behind the globe, reads VITA BREVIS ARS LONGA. Auctioned 10 July 1998, sold (Gabrius, loc. cit.)
• Vanitas, oil on canvas, Evert Collier (ca 1640 – 1708). Ref. Gabrius Data Bank (2001 - b&w). On a draped ledge lie an open book, a money bag, an hourglass, a terrestrial gobe, a lute and a renaissance-style recorder. The recorder is partially hidden underneath the lute and only the beak and brass-sheathed head can be seen. Auctioned 31 October 1997, sold (Gabrius, loc. cit.)
• Vanitas (>1684), oil on canvas, Evert Collier (ca 1640 – 1708). London: Sotheby's, Meadway Films, Ltd., 24 November 1971, Lot 153; Schickman Galleries; New York: Sotheby's, Important Old Master Painting, 11 January 1996, Lot 71 (unsold). Ref. Gabrius Data Bank (2001 - b&w); Artfacts (2003). On a table lie books books by classical authors (Pliny, Aesop and Cicero), music, a violin and a baroque style recorder with an ivory beak, mid-joint retaining ring and foot ring, and an exceptionally flared bell. A book is open at chapter headed APOLOGY FOR ZOSIMUS. Above the recorder a ticket reads "Vita Brevis, Ars Longa". Auctioned again, 22 May 1997, sold (Gabrius, loc. cit.) The inclusion of the book at the center of the composition suggests a date for the present picture. An English edition of Joannes Leunvlaviuss' Apology for Zosimus . . . was published in 1684, and it seems likely that the present work would date to after its publication.
• Vanitas, oil on panel, Evert Collier (ca 1640 – 1708). Ref. Gabrius Data Bank (2001 - b&w). On a draped table lie an hourglass, a terrestial globe, a money bag, an open book, a watch, a manuscript (signed E. Collier), the bell of shawm (projecting from behind the glboe), a transverse flute with brass ferrule at foot (propped up on the frame of the globe), and a recorder with a brass- sheathed beak, the window/labium and first finger-hole visible. Auctioned 3 July 1996, sold (Gabrius, loc. cit.)
• Vanitas, oil on canvas, Evert Collier (ca 1640 – 1708). Ref. Gabrius Data Bank (2001 - b&w). On a table covered in what appears to be a carpet are a brown and grey stoneware jug, a basket-covered wine bottle, a drinking glass with two handles, a porcelain teapot, cup and saucer, a candlestick and candle, a medalion and ribbon, a violin and bow, an open music book, a closed book, and a perfectly depicted baroque recorder in three pieces made of brownish (? stained) wood. Auctioned 19 October 1993, unsold; auctioned 1 March 1994, unsold; auctioned 6 March 1996, sold (Gabrius, loc. cit.)
• Vanitas, oil on canvas, Evert Collier (ca 1640 – 1708). Ref. Gabrius Data Bank (2001 - b&w). On a table are a decorated nautilus shell cup, an ornate pewter dish with grapes, cut peaches and cherries, and a ? medallion draped over the head and upper body of a baroque recorder with ivory beak and mounts. Auctioned 22 February 1996, sold (Gabrius, loc. cit.)
• Vanitas, oil on panel, 34.9 × 26 cm, Evert Collier (ca 1640 – 1708). London: Rafael Valls Gallery. Ref. Haynes (1988: 333, fig. 20 – b&w); Woodmansterne Publications: card; Rowland-Jones (2000b: fig.-b&w); Bridgeman Art Library (2001: Image 81429 - col.); Gabrius Data Bank (2001 - b&w). Scattered on a drapped table are a globe, a printed book of music by Jacob van Eyck, books, and musical instruments including a shawm, a transverse flute with a metal ferrule at foot standing on the back of a lute, and a baroque recorder in a light wood (? box) projecting from under lute. One of the books is open at a chapter headed LEYDEN. Auctioned 8 December 1995, sold (Gabrius, loc. cit.)
• Vanitas, oil on canvas, Evert Collier (ca 1640 – 1708). Ref. Gabrius Data Bank (2001 - b&w). On a draped table lie books, an hourglass, a violin and bow, and a baroque recorder with ivory head ferrules and foot ring. The book is open at a page with the motto MUSICA LETITIÆ COMES MEDICINA DOLORUM. Auctioned 19 October 1995, sold (Gabrius, loc. cit.)
• Vanitas, oil on canvas, 43.7 × 33 cm, Evert Collier (ca 1640 – 1708). London: Christie's 1995, lot 1019. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague (2001); Anthony Rowland-Jones (pers. comm., 2001). A violin, a recorder, a lute, books, a musical manuscript … Not seen. Possibly a copy.
• Vanitas (1662), oil on canvas, 95.3 × 75.6 cm, Evert Collier (ca 1640 – 1708). Private Collection. Ref. Sotheby's, New York, Lot 168A, 24 January 2002. A vanitas still-life with a globe, an hourglass, a pouch, books, sheet music, a lute and a recorder on a draped table. Only the head of the recorder is visible which has a brass-sheathed beak. One of the earliest known works by Collier amongst a select group of vanitas paintings, dated from 1662. During this period he was working in Leiden. All four works by Collier dated 1662 are signed Kollier and it was not until his move to London in the 1690s that he began to sign his works Collier.
• Vanitas, Evert Collier (ca 1640 – 1708). Location unknown. Ref. Gabrius Data Bank (2002 - col.) On a bench lie a violin, a metal teapot, a metal bowl, a quill in an ink-stand, books, an open music book, and a baroque recorder with an ivory beak and what may be an ornate silver ferrule (the body and foot are hidden behind the teapot).
• Vanitas (1690), 41 × 52 cm, Evert Collier (ca 1640 – 1708). Location unknown: auctioned Vroom, 1980 (nr. 196); auctioned by Christie's, 29 October 1999 (sold). Ref. Griffioen (pers. comm., 2003); Gabrius Data Bank (2002 - col.); Web site: The Great Bass Viol (2004 - col.). Signed "E. Colyer 1690". On a bench lie an hourglass, a skull underneath which is a ticket reading MEMENTO MORI, a terrestial globe, an open book, a watch, an open music book, a handbill which reads MUSICA LETITIÆ COMES MEDICINA DOLORUM, a lute, a bassoon, a violin and bow, an oboe, and a hand-fluyt. The beak, window/labium, seven finger-holes (the last offset to the player's right), and a slightly flared bell with incised decorative rings are clearly depicted.
• Still Life with a Volume of Wither's `Emblemes' (1696), oil on canvas, 83.8 × 107.9 cm, Evert Collier (ca 1640 – 1708). London: Tate Gallery, Inv. No. 5916. Ref. Tate Gallery Website (2002); Rijksbureau voor Kunsthistorische Documentatie, The Hague, photo no. L.39602; Griffioen (pers. comm., 2003). A cello leans against a draped bench on which lie an open copy of Wither's Emblemes, an open music book, a watch, a compass, an ornate chalice, a lute, a violin, a cittern, a shawm, a bow, a flute and an alto/tenor-sized recorder with a brass-sheathed beak, the window/labium and first three finger-holes of which are clearly depicted. In the background are a skull and an urn beneath which hangs a piece of paper on which the "VANITAS . . ." motto is printed. On a smaller table in the foreground are a decorated pewter cup and some fruit.
• Vanitas, 44 × 34.8 cm, Evert Collier (ca 1640 – 1708). London: Johnny van Haeften Gallery. Ref. Bridgeman Art Library (2002: Image ID JVH 56649 - col.) On a table lie scattered a casket, an hourglass, a nautilus shell, a terrestial globe, papers, a book, and an alto/tenor-sized recorder with a brass- or silver-sheathed beak, the window/labium and first three finger-holes of which are clearly depicted.
• Vanitas (1680), oil on canvas, 83 × 71.3 cm, Evert Collier (ca 1640 – 1708). London: auctioned by Sotheby's. Ref. Auction catalogue, (?date: 162); Constance Scholten (pers. comm., 2003). On a draped table lie a terrestial globe, an hourglass, a book with a ticket reading OMNIA VINCIT AMOR, a tied bundle of papers with a ticket reading VANITAS, a book open at a chapter headed "A Description of the WORLD", an open music book (which seems quite legible), a watch, a violin, an oboe (only the bell of which can be seen), and a baroque recorder with ivory beak and mounts the head and upper body of which stick out from underneath the pile. However, there is something very peculiar about this recorder. Instead of a window/labium it has the embouchure hole of a transverse flute! Otherwise it is identical to a Vanitas of unknown location (see below).
• Vanitas (1702), 82.5 × 71.2 cm, Evert Collier (ca 1640 – 1708). Location unknown: ex Lord Brownlow, auctioned 14/12/1984; auctioned 10/12/2004 (sold). Ref. Auction catalogue (1984 - pl. 223); Ruth van Baak Griffioen (pers. comm., 2003); Gabrius Data Bank (2007 - col.) On a draped table lie a terrestial globe, an hourglass, a book with a ticket reading OMNIA VINCIT AMOR, a tied bundle of papers with a ticket reading VANITAS, a book open at a chapter headed "A Description of the WORLD", an open music book (which seems quite legible), a watch, a violin, an oboe (only the bell of which can be seen), and a baroque recorder with ivory beak and mounts the head and upper body of which stick out from underneath the pile. Apart from its window / labium this painting is identical to a Vanitas acutioned by Sothebys, London (see above). A recreation of this (or a painting very much like it) is available from Prestige Fine Art
• Vanitas (1662), oil on panel, 98.5 x 78 cm, Evert Collier (ca 1640 – 1708). Signed and dated. Milan: Bigli Art Broker. Ref. Bigli (2003 - col.) Signed 'Kollier' and dated by the artist. On a table covered by an embroidered cloth lie a terrestial globe, papers, books, a lute, the bell of a shawm, and a recorder. Only the head of the latter can be seen projecting from beneath the lute. Its beak appears to be metal-sheathed, and there may be a maker's mark below the window/labium. An open book at the center of the painting is a treatise on Islam. This painting needs rennovation. Despite the monochromatic cast (due to an earlier varnishing), this painting is in excellent condition. It is currently for sale.
• Vanitas: Vita brevis ars longa (1684), 77 × 64 cm, Evert Collier (ca 1640 – 1708). Location unknown: auctioned F. Muller & Co., Amsterdam. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague, photo no. L.39602; Griffioen (pers. comm., 2003). Signed "E. Colÿer. Anno 1684" On a draped table are piled a globe, papers, books, one of which is open at a chapter headed DOMINICUS OMNIA, the top part of a skull, a shawm (foot only visible), a flute with a metal ferrule at the foot, a violin, and a hand-fluyt the foot of which lies beneath the jaw of the skull. The beak of the recorder is metal-sheathed; a maker's mark below the window/labium may be legible. A ticket beside the skull reads VITA BREVIS ARS LONGA.
• Vanitas (1680), 86 × 68.5 cm, Evert Collier (ca 1640 – 1708). Location unknown: auctioned Marle, de Sille & Baan, Rotterdam, 28 January 1942, lot 101. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague, Negative No. 70e; Griffioen (pers. comm., 2003). Singed "E. Colyer" and dated 1680. On a draped table are piled a globe, a elaborately decorated nautilus shell, a watch, an hourglass, a purse, papers, books (one open at a chapter headed AMSTERDAM), a shawm (only the foot of which is visible), a lute, a flute with a brass ferrule at the foot (perched on the globe), and a recorder with a metal-sheathed beak, only the head of which is visible.
• Vanitas Still-life (1692), oil on panel, 36 × 28.5 cm, Evert Collier (ca 1640 – 1708). London: Sotheby's Sale L06034, Old Master Paintings, 7 December 2006, Lot 147. On a draped table are a globe, an hour-glass, a book open at a page headed ? ROMEN, and a score, together with a shawm, a lute, a flute, and a recorder with a metal-sheathed beak, only the head and upper body of which are visible. A maker's mark can be seen immediately below the window. Below the book and score is a ticket reading HAEC MEA VOLUPTAS … Another very similar composition, also signed and dated 1692, was sold in London by Christie's, 8 December 1995, Lot 206.
• Vanitas (1695), 75 × 61.5 cm, Evert Collier (ca 1640 – 1708). Location unknown: auctioned Sotheby's, London, 11 July 1979, Lot 211. Ref. Sotheby's Negative Nr. 011384 (1979); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). Signed "E. Collier" and dated 1695. On a draped table are a violin, a watch, a necklace, an hourglass, boxes, papers, books (one open at a chapter entitled THE YOUNG LOVER'S ENQUIRY), a violin, lute, shawm (only the foot is visible) and a tenor-sized baroque recorder with ivory beak and mounts and a wide foot.
• Vanitas Still-life (1693-1706), oil on canvas, 37 × 30.4 cm, Edwaert Collier (op. 1663 - m. 1708). Location unknown: Sotheby's (London) Sale L07034, Lot 188, 6 December 2007. Ref. Website: Sotheby's (2007 - col.) On a table draped with a green cloth with a fringe are books, manuscripts, an alto recorder, a lute, a violin, an hourglass, a compass. The recorder is of baroque form with an ivory ferrule on the head joint and lies beneath a book open at a page headed "The Young Lover's ENQUIRY". The latter, also known as "The Bachelor's Question to Cupid", is a traditional English ballad and suggests that Collier painted this work during his period in London, between the years 1693 and 1706. Inscribed on a note projecting out from a closed book lower left the words VITA BREVIS ARS LONGA. Projecting from another closed book centre right is a note bearing the word VANITAS.
• Vanitas Still-life, painting, school of Evert Collier (ca 1640 – ? 1710 ). Location unknown: formerly property of Mrs G.M. Cumberlege-Ware, auctioned London, 11 March 1983, nr. 101; auctioned 01/11/2005 (sold). Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003); Gabrius Data Bank (2007 - col.) On a bench are a globe, papers, a ticket reading VANITAS, a book open at a page reading MUSICA LABORUM DULCE LEVAMEN, an open music book (probably legible), a violin and bow, and an alto-sized recorder with ivory beak and mounts and a wide foot.
• Vanitas, oil on canvas, 35.6 × 30.2 cm, Evert Collier (ca 1640 – 1708). Glens Falls, New York: The Hyde Collection Art Museum, 971.12. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are a skull, a glass of wine, a candlestick and candle, a globe, a smoking pipe, a closed book with tickets reading MEMENTO MORI and VITA BREVIS ARS LONGA, an open book, an open music book (tenor part), a violin, and a three-piece baroque recorder with ivory beak and mounts and an unusually wide foot.
• Vanitas, 22.5 × 18.5 cm, Evert Collier (ca 1640 – ? 1710). Location unknown: auctioned Stockholm, 11 December 1935. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are an hourglass, a globe, a purse, boxes, a music book, a note (illegible in photocopy), a spear with bunting, a lute, a shawm (only the bell of which is visible), a violin and bow, and a renaissance-style recorder with a metal-sheathed beak. Below the window/labium of the recorder a maker's mark is visible; the lower body and foot are hidden beneath the lute. The illegible note is signed "E.K."
• Vanitas, 30 × 25 cm, Evert Collier (ca 1640 – ? 1710). Leipzig: Museum der Bildenden Künste, Inv. Nr. 1486. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are a globe, an ornamental nautilus shell, a bust, a skull (upper part), a watch, a sword, a book open at a chapter headed BREDA, an open music book (bass part, legible), and a recorder of which only the head and upper body are visible, the window/labium, maker's mark and first two finger-holes clearly depicted. Two tickets read SIC TRANSIT GLORIA MUNDI and FINIS CORONAT OPUS.
• Vanitas, 24 × 21 cm, Evert Collier (ca 1640 – ? 1710). Location unknown: sold F. Muller & Co., Amsterdam, 25 October 1927, No. 15. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are a globe, an ornamental nautilus shell, a bust, a book open at a chapter headed BREDA, a portrait of a man smoking, a sheet of music (legible), a lute, a transverse flute and a hand-fluyt with a metal-sheathed beak.
• Vanitas, 80 × 63 cm, Evert Collier (ca 1640 – ? 1710). Location unknown: sold Copenhagen 1965. Ref. Gammelbo (1960: 201); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are a globe, books, a glass goblet with a peeled lemon in it, an open music book (legible), a lute, oboe, violin and bow and a baroque recorder with ivory mounts only the head and upper body of which project from underneath the violin.
• Vanitas, 107 × 89 cm, Evert Collier (ca 1640 – ? 1710). Location unknown: sold London, 13 December 1991. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are an ornate challice, a globe, the upper part of a skull, a glass goblet, a box of jewels, a book (one open), an hourglass, a nautilus shell, a watch, a vase of flowers, papers, an open book of music, a violin and bow, two shawms (one with only the foot visible; the other with part of the body and foot visible), and two recorders one of which is leaning upright against the flower vase, the other of which is lying on the bottom right of the table and has a metal-sheathed beak. A ticket above the latter recorder reads VANITAS VANITATUM ET OMNIA VANITAS.
• Vanitas, 113.2 × 99 cm, Evert Collier (ca 1640 – ? 1710). Bonn: Rheinisches Landesmuseum, Inv. No. 52.89. Ref. Rehinisches Landesmuseum, Catalogue (1982: 145); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a table lie a globe, a statue of a naked woman on a pedastal, a nautilus goblet, the upper part of a skull, a pearl necklace, a portrait (of the patron, perhaps), an open picture book, an open music book, a lute and a renaissance-style recorder only the head of which can be seen. Bubbles float above.
• Vanitas, 49.5 × 67.2 cm, Evert Collier (ca 1640 – ? 1710). Location unknown: auctioned Christies, London, 8 July 1977, No. 52. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are a globe, an hourglass, a highly decorated nautilus cup, two books, one open at a chapter headed LEYDEN, the other with a ticket with a motto (illegible in photocopy), a watch, a necklace, a violin, a lute, and a renaissance-style recorder with a metal-sheathed beak, the foot hidden beneath the open book.
• Vanitas (1696), 100.3 × 122.6 cm, Evert Collier (ca 1640 – 1708). Location unknown: auctioned ? dealer, London, 7 July 1989, No. 6. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are a sword, a casket with jewels, a watch, a highly ornamented chalice, a globe, books (one open at the title paged which reads "The Famous and Memorable Works of JOSEPHUS A MAN OF MUCH HONOUR AND LEARNING AMONG THE JEWS", another closed with a motto reading HAEC MEA VOLUPTAS …), an open music book (legible), a portrait (of the patron, perhaps), a violin and bow, and a turned baroque recorder with ivory beak and mounts, the lower body and foot hidden underneath the books.
• Vanitas, 76 × 62 cm, Evert Collier (ca 1640 – 1708). Location unknown: auctioned ? dealer, Rome, 23 May 1989, No. 190. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003); Corbis Image Library, Image X001662 (2003 - col.); globalgallery.com (2006 - col.) On a draped table are an hourglass, an ornate vase, books, a scallop shell, papers, a ?powder-horn, a skull and cross-bones, a violin, a shawm (only the foot of which is visible), a baroque recorder with ivory mounts, the upper head out of frame. A ticket under the vase reads VANITAS VANITATUM ET OMNIA VANITAS; another under the skull and crossbones reads MEMENTO MORI.
• Vanitas, 32.5 × 26 cm, Evert Collier (ca 1640 – ? 1710). Location unknown: auctioned J.F. Treling, Amsterdam (1960). Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). On a draped table are a globe, two books (one open at a chapter entitled STADT ROMEN), a sheet of music, a shawm (only the foot visible) and a renaissance-style recorder with a metal-sheathed beak, only the head and upper body of which are visible. A ticket from underneath the books reads VITA BREVEIS ARS LONGA.
• Still Life with Flute (1695), oil on canvas, 73.7 × 61.0 cm, Evert Collier (ca 1640 – 1708). Charlotte (N. Carolina): Mint Museum of Art, Inv. 1963.15. Ref. Debra Pring (pers. comm., 2007 & 2009). Painted in London two years after Collier's arrival in London in 1693. On a table lie an open book titled 'Description of LONDON' with others behind cocnerning 'Plato' and 'Aristotle' on the spines. To the left is the belly of a lute. A violin crosses the centre and behind it is its bow, only the end of which is visible. An alto recorder lies across the front, under the violin and across an open book of music. The music notation is interesting. The left-hand page (overhanging) is clearly titled 'The Grenaders March' (sic.) and is exactly the same notation apart from two notes as the 'Grenadeers March' or 'Grenadiers March' (two different spellings in different editions of Playford), which first appears in the 1686 edition. Although it is definitely 'real' notation it is as yet unidentified. The partially visible notation on the right-hand page has a partial title 'The Trumpet hellip;' Notes from Pring (loc. cit.)
• Vanitas, oil painting, 60 × 72.5 cm, Evert Collier (ca 1640 – 1708). New York: Sotheby's, 22 May 1997, Lot 82. Ref. Artfact (2003). Still life with violin, recorder, lute, books and music.
• Vanitas, oil on canvas, circle of Evert Collier (ca 1640 – 1708). London: Christies, 13 December 2003, Lot 101. Ref. Artfacts (2003). Books, an hour glass, a recorder, a lute, a musical score, and a skull and cross bones. Signed (?) 'RChandler' (centre right) and inscribed and dated 'Memento Mori, 1695.'
• Vanitas, oil on canvas, 43.7 × 33 cm, circle of Evert Collier (ca 1640 – 1708). London: Christie's, Old Master Pictures, 19 October 1995, Lot 402. Ref. Artfacts (2003). A violin, a recorder, books, a musical manuscript and an hourglass on a draped table.
• Vanitas, oil on canvas, 59.6 × 71.1 cm, follower of Evert Collier (ca 1640 – ? 1710). Location unknown: Auctioned Christie's, London, Anonymous Sale, Lot 30, February 1988; Christie's, New York, The House Sale (Sale 1273), Lot 30, September 30 - 1 October 2003. Coins, an overturned hour-glass, an urn, a skull, a candle, books, a violin and bow, a baroque alto recorder with ivory beak and mounts, and a score lie on a table. When offered at Christie's in 1988, the work was sold with a certificate dated 12 September 1987 by Professor Ingvar Bergström as by Evert Collier. The beak of the recorder is very unusually shaped, narrowing markedly below the mouthpiece before flaring out again. Otherwise this instrument bears a strong resemblence to one depicted in several of Collier's other paintings. An identical painting auctioned by Sotheby's in 2004 was attributed to a follower of Pieter Gerritsz. van Roestraten. However, the dimensions of the two paintings are slightly different. Both paintings are attributed to Collier here.
• Vanitas, oil on canvas, 60.3 × 71.4 cm, follower of Evert Collier (ca 1640 – 1708). Location unknown: Auctioned Sotheby's, London (Olympia), Lot 295, 20 April 2004. Coins, an overturned hour-glass, an urn, a skull, a candle, books, a violin and bow, a baroque alto recorder with ivory beak and mounts, and a score lie on a table. The beak of the recorder is very unusually shaped, narrowing markedly below the mouthpiece before flaring out again. Otherwise this instrument bears a strong resemblence to one depicted in several of Collier's other paintings. Sotheby's London attribute this painting to a follower of Pieter Gerritsz. van Roestraten. However, an identical painting auctioned most recently by Christies, New York, in 2003 was attributed to Collier. The dimensions of the two paintings are slightly different. Both paintings are attributed to Collier here.
• Vanitas (1701), 71.1 × 60.3 cm, Evert Collier (ca 1640 – 1708). Location unknown: auctioned 07/12/2005 (sold) Ref. Gabrius Data Bank (2007 - col.) A violin, a baroque alto recorder with ivory beak and mounts, books, a scroll and music with a globe on a marble ledge. The foot and most of the body of the instrument are hidden behind the violin. Rather crudely executed.
• Vanitas, oil on canvas, 76 × 63 cm, follower of Evert Collier (ca 1640 – ? 1710). Location unknown: auctioned Sotheby's, Olympia, Old Masters (WO5718) - 1 November 2005 Lot 72. On a draped table lie a globe, books (including one open), papers, a violin, and an alto baroque recorder with an ivory beak and ferrule on the head-joint.

John Collier [Tim Bobbin, pseudonym] (1708-1786)

• Pictorial monogram (1767), engraving, John Collier (1708-1786). Ref. Kenworthy (1965). Tim Bobbin was a Lancashire dialect writer and village school master of Milnrow, near Rochdale. There, according to a memoir in an 1862 edition of his works, 'at liesure hours he amused hmself by lessons in the art of drawing, and in playing upon the hautoby and English flute, and soon became such a proficient as to be qualified to instruct others in these amusing and ornamental arts'.
  
  In Tim Bobbin's satirical proclamation (January 1767) dispensing charity to the poor, every gift is so hedged round with conditions that the final outlay is nil. It is signed with four symbols, namely a bird, an ant, a recorder and the monogram 'LS' in a circle and thus was probably directed at Robin Entwistle, member of a local land-owning family. The recorder leaves no doubt as to the identity of Bobbin's 'flute'.
  
  Tom Bobbin's tombstone in Rochdale is inscribed with an epitaph which he is said to have written himself twenty minutes before he died. An earlier epitaph by himself published in his Collected Works (1786) reads as follows:
  
  

  A yard beneath this heavy stone,
  Lies Jack-of-all-trades, good at none.
  A weaver first, and then school-master;
  A scrivener next; next poetaster.
  A painter, graver, and a fluter.
  And fame doth whisper, a C––r;
  An author, Carver, and hedge-clark:
  E whoo-woo-whoo, whot whofoo wark!
  He's left um aw, to lie ith dark!

Angelo-Michele Colonna & Agostino Mitelli

• Untitled, quadratura mural, Angelo-Michele Colonna (1600-1687) & Agostino Mitelli (1609-1660). Sassuolo: Estense Palace. Ref. Paris RIdIM (1999). One of four murals of 'balconies' – two each with singers and instrumentalists. Here, men play bass trombone, violin, viol (or cello) and a conical recorder of tenor size, the window/labium and finger-holes and positions clearly depicted.

Paulus de Collonia (13th century), German

• Coronation of the Virgin (ca 1389), bronze relief, Paulus de Collonia (14th century). Detail. Guadelupe (Estramadure, Spain): Monastery of Nuestra Señore de Guadelupe, portal, door panel. Ref. Fabbri (?date: vol. 8, p. 14, fig. – b&w); Zaniol (1984, November: 4); Enciclopedia dell'Arte Medievale (1996, VII: 127); Rowland-Jones (1999c: 13, fig. 4 – b&w). "Another recorder almost identical to this [ie, that illustrated by Padre Serra] appears in the bas-relief decorating the portal of a monastery in Guadeloupe, in Spain, which dates from the Fourteenth Century. This portal, also includes four other instruments" (Zaniol, loc. cit.) Mary and the Christ-child sit enthroned surrounded by angel musicians who play organetto, harp, lute, fiddle and duct-flute with a window/labium and slightly oblique and flared bell. The player of the later has all four fingers of both hands on the instrument which may represent a recorder. The doors are inscribed "Paulus de Collonia" and "Alleman fecit". "The bronze doors were installed at the end of the 14th century, possibly around 1389, the date given for the completion of the increasingly lavish monastery church, after which attention moved to building the cloister (1389-1405). The doors, possibly ordered from Cologne (this is just a guess), could have been a final sumptuous finish to the façade of the church. If the work belongs roughly to the last two decades of the 14th century this matches the dating of the pere Serra Tortosa altarpiece" (Rowland-Jones 1999, pers. comm.)
• Nativity (ca 1389), bronze relief, Paulus de Collonia (14th century). Detail. Guadelupe (Estramadure, Spain): Monastery of Nuestra Señore de Guadelupe, portal, door panel. Ref. Enciclopedia dell'Arte Medievale (1996, VII: 127); Rowland-Jones (1999, pers. comm.) The Holy Family are visited by two shepherds, one of whom grasps a flared-bell duct-flute in one hand below which four finger-holes are clearly visible and two indentations which seem to indicate paired holes for the little finger of the lowermost hand. Thus this instrument is highly likely to represent a recorder. The doors are inscribed "Paulus de Collonia" and "Alleman fecit". "The bronze doors were installed at the end of the 14th century, possibly around 1389, the date given for the completion of the increasingly lavish monastery church, after which attention moved to building the cloister (1389-1405). The doors, possibly ordered from Cologne (this is just a guess), could have been a final sumptuous finish to the façade of the church. If the work belongs roughly to the last two decades of the 14th century this matches the dating of the Pere Serra Tortosa altarpiece" (Rowland-Jones 1999, pers. comm.)

Michele di Luca dei Coltellini [Cortellini]

• Coronation of the Virgin, ceiling fresco, Michele di Luca dei Coltellini (ca 1480 – p. 1543). Ferrara: Chiesa de Santa Maria della Consolazione, dome. Ref. Paris RIdIM (1999 – detail). Angels on the wing play straight trumpet, crumhorn, and a long cylindrical duct-flute. The beak of the latter is quite clearly depicted, and its size and the disposition of the player's fingers seems to point to a recorder rather than a flageolet. Others play lute, fiddles, viol, harp

Jean Columbe [Colombe]

• Book of Hours of L. de Laval: Christ and the Virgin (1480), miniature, Jean Columbe (1440-?1493). Paris: Bibliothèque Nationale. Ref. Encycl. Musique (?date: 712, pl. 1); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). Christ and the Virgin seated are flanked by soldiers, prelates and others. Behind them are angels. At their feet are a host of angels in numerous ranks, the front one of which comprises six musicians playing organetto, lutes, and three narrowly flared duct-flutes (in each the window/labium and a number of finger-holes are clear).
• Très Riches Heures of John Duke of Berry, f.158r: Christmas Mass (1485-1490), illumination, Jean Columbe (1440-?1493). Ref. Early Music (1990, August: 363, pl.- b&w); Anthony Rowland-Jones (pers. comm., 2001). Shows Christmas Mass in a private chapel, almost certainly the 'Sainte-Chapelle' of the Duke's palace at Bourges. A rather rough looking character emerges from behind a curtain and looks at the two comely singing nuns nearby. In his left hand he holds something which could be a recorder, and he seems to be looking rather pointedly at the young women reading from their prayer-books. His presence during the service is enigmatic; perhaps there had been a semi-dramatic interlude with this man representing a shepherd. Is it a symbol of the sin of lust in our midst, even in the Duke's private chapel during Christmas Mass?

Johann Amos Comenius (18th century), German (Nuremburg)

• Orbis Sensualium Picti … CXXXI. Tibiarius. Der Pfeiffen-Macher, (1754: 394), print, Johann Amos Comenius (18th century). Moeck, Celle: Christmas postcard (undated). Depicts an instrument-maker's atelier. One craftsman works at a foot-powered lathe; another discuss the merits of a flute with a customer. On and beside a table before the last two are displayed a bassoon, an oboe, a three-piece capped-reed instrument of some kind, and a turned baroque recorder.

Charles Compton

• A Young Boy with a Recorder (1851), oil on canvas, 62 × 52 cm, Charles Compton (1828-1884). London: Bonhams, Oils and Frames, 14 November 2000, Lot 127. Ref. Artfact (2003). Not seen.

Gillis van Coninxloo [Koningsloo]

• Landscape with the Judgement of Midas, Gillis van Coninxloo [Koningsloo] (1544-1607). Ref. Carlos Parada, Greek Mythology Link (2002). Apollo stands playing an improbable-looking harp; Marsyas sits holding a flared-bell pipe with a bulbous beak. Midas, already sprouting asses ears, points in approval to Marsyas; an elderly male judge indicates that he favours Apollo. A naked female figure with her back to us (? Minerva), her arm around a clad male figure, has cast a flared-bell pipe aside.

Benjamin Cooke

• Title Page: Directions for Playing on the Flute, Benjamin Cooke, London (1735) US Wcm. Ref. Vinquist (1974: 58, 211-212). Pirated by Rutherford (ca 1760; Vinquist, loc. cit., fig. 3-2); and by Longman & Broderip (1779-1798), whose title page includes a mirror copy of Cooke's frontispiece (Welch 1911/1961: 82-83, fig 41). A young man sits at a half table on which his music is propped up on a folding stand playing a three-piece, turned baroque recorder; his tutor leans over his shoulder, pointing to the score.

Juan de Coorduba (fl. 1665 – 1702), ? Austrian

• Vanitas (1665), 56.5 × 68 cm, Juan de Coorduba (fl. 1665 – 1702). The Hague: Collection Hans Hungeling. Ref. Paris RIdIM (1999). On a table lie playing cards, books, a music score, papers, a watch, a skull, a globe, an hour-glass, a pochette (dancing-master's fiddle) and a recorder, the head of which pokes out form beneath some crumpled paper. The maker's mark is clearly visible.

Adriaen [Adrian] Coorte

• Vanitas (1686), oil on panel, 50.1 × 41.4 cm, Adriaen Coorte (? 1660 - p.1707). Location unknown: offered for sale by Silvano Lodi, Munich, 6-4 November 1969; Sothebys, Sale L08033, 9 July 2008, Lot 34. Ref. Apollo, November: cxiii (1969 - b&w); Constance Scholten (pers. comm., 2005); Website: Sothebys (2008 - col.) On a shelf are scattered an hourglass, a flowering stalk of dried grass, papers, a book, the top part of a skull, an unusual two-tiered tray (each tier with a pouring lip), and a shell behind which can be seen the head of a ? soprano recorder. Painted in 1686, this is the first of only five vanitas still lifes by Adriaen Coorte, each of which was executed in consecutive years (in 1686, 1687 and 1688). Unlike most artists of the vanitas still life Coorte does not rely on textual references to convey his message but expresses himself purely through the language of painting and, although he includes here the usual references to death (with the skull, recorder and empty conch shell, as well as to life's transience (in the hourglass), the sombre tone is permeated by a sense of hope through the ear of corn, an emblem of the Resurrection.

Alexander Coosemans

• Still-life (1645-1665), Alexander Coosemans (1627-1689). Schleißheim: Gemäldegallerie Schloss Schleißheim (annex of Munich Alte Pinakotek). Ref. Rijksbureau voor Kunsthistorische Documentatie 16308 (2001); Anthony Rowland-Jones (pers. comm. 2001). A still-life with fruit, glasswork and musical instruments in a landscape. Includes the lower part of a tenor recorder with a slight bell flare. Three in-line finger-holes are visible plus an offset hole for the little finger of the lower-most hand.

Pere Compte

• [Pipe & Tabor Player] (1493-1506), stone carving, Pere Compte (? – 1506). Valencia: Lonja de mercaderes o de la seda (Silk Exchange). Refs: Centre for Music Documentation (CMD) in Madrid; Anthony Rowland-Jones (pers. comm., 2001); Wilfried Praet (pers. comm., 2010). “This carving in 15th century flamboyant Gothic style shows a pipe and drum. The instrument is not a tabor pipe, however. It is damaged at the lip so there is no sign of a reed or window/labium, but beneath the head of the instrument a large ring stands proud of its circumference, followed by two finger-holes and another similar large ring, followed by one finger-hole, the player's left hand holding the instrument, and a pair of offset holes close to the flared bell end” (Rowland-Jones, loc. cit.)
• [Piper], stone relief vault bos, Pere Compte (? – 1506). Valencia: Lonja de mercaderes o de la seda (Silk Exchange). Refs: Centre for Music Documentation (CMD) in Madrid; Anthony Rowland-Jones (pers. comm., 2001); Wilfried Praet (pers. comm., 2010. “The instrument is within a hooded support under one of the carved ceiling beams of the maritime law court in the Lonja. A man holds a tenor recorder with a clear beak and window/labium, and possibly seven (or even eight) holes. The holes are slightly obscured by the fingers of the upper, right, hand, which is followed by one clear hole, then the left hand with all fingers down, followed by another clear hole and two smaller holes out of line at the turn of the body of the instrument as it expands into a wide and heavy bell end” (Rowland-Jones, loc. cit.)

Gonzales Coques

• The Painter in his Studio, Gonzales Coques (1614/18 - 1684). Schwerin: State Museum. Ref. Bernt (1969, 1: 258); Leppert (1977: 36). Portrait of the artist holding a violin, with a musician playing a cittern; a lute, harpsichord, viol and recorder lie unused on the floor with fruit and a dog.
• The Painter in his Studio, oil, Gonzales Coques (1614/18 -1684). Schwerin: State Museum. Ref. van Dijck & Koopman (1987: no. 140 – b&w); Paolo Biordi (pers. comm., 2000). Before a window, the painter sits playing a cittern before a landscape on an easel. At his feet lies a chest against which leans a cylidrical recorder, and a dog noses at a basket of fruit. In the foreground to the right stands a bass viol; behind it another man sits at a harpsichord, a woman standing beside him.

Johann Baptist Corlando [or Churland] (late 17th century), German

• Woman with a Flute, Johann Baptist Corlando (late 17th century). Munich: Bayerische Staatsgemäldesammlungen (Residenz Museum), Inv. 3710 (old), 1056 (new). Ref. Munich RIdIM (1999: Mstag 143). Against a mountainous background an elegant lady holds (but does not play, nor does she look as if she could!) a slender tenor recorder with a gentle bell and bore end flare. Notes by Anthony Rowland-Jones (pers. comm., 1999).
• Woman with a Flute, Johann Baptist Corlando (late 17th centur). Munich: Bayerische Staatsgemäldesammlungen (Residenz Museum), Inv. 3704 (old), 3744 (new). Ref. Munich RIdIM (1999: Mstag 142). Against a mountainous background an elegant lady is certainly unable to play the recorder in her hand, as a small dog is pawing her arm. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Michel II Corneille the Younger (1641-1708), French

• Pastorale, ink drawing, 25.0 × 21.2 cm, Michel II Corneille the Younger (1642-1708). Paris: Louvre, Print Collection, Inv. 25592. Ref. Paris RIdIM (1999). A shepherd in a dress and with a puffed up hat, stands on a rise overlooking a town playing his flared-bell pipe which could be a recorder.
• Pastorale, ink drawing, 26.9 × 34.5 cm, Michel II Corneille the Younger (1642-1708). Paris: Louvre, Print Collection, Inv. 25615RF. Ref. Paris RIdIM (1999). Amidst hilly countryside, a swineherd in a wide-brimmed hat sits beneath a tree watching his pigs and playing a long conical pipe which could be a recorder.

Cornelis Cornelisz. van Haarlem

• Landscape, oil on canvas, Cornelis Cornelisz. van Haarlem (1562-1638). Ref. Gabrius Data Bank (2002 - col.) An extensive landscape with a peasant woman reading a papers as a traveller stands by and a shepherd boy plays on a slender flared pipe, possibly a duct-flute.
• A Company Making Music and Carousing in an Interior, oil on canvas, Cornelis Cornelisz. van Haarlem (1562-1638). Ref. Gabrius Data Bank (2002-col.) Around a table seven men eat, drink and play music. One, a singer, holds an open music book; one has a bagpipe under his arm; one holds an alto-sized cylindrical pipe with his thumb outstretched as it might be on a recorder, but no details of the instrument are visible.

(Jean-Baptiste-)Camille Corot

• Young Woman Playing a Tambourine and Young Shepherd Playing a Flute, oil on panel, Camille Corot (1796-1875). Ref. Gabrius Data Bank (2002 - col.) A pendant pair. A young woman in a flowing dress plays stands atop a pedastal playing a tambourine. She faces a naked man standing on a pedastal and leaning against a tree-trunk plays a flared-bell pipe, possibly a recorder. Both seem far too crudly painted for Corot.

Correggio (Antonio Allegri)

• Study for Allegory of the Vices, red chalk drawing, 274 × 194 mm, Antonio Allegri Correggio (ca 1489-1534). London: British Museum. Ref. Royalton-Kisch et al. (1996: 81, pl. 34). Joy (one of the Vices) plays a cylindrical duct-flute (probably a recorder).
• Allegory of the Vices (ca 1629-1630), tempera on canvas, 148 × 88 cm, Antonio Allegri Correggio (ca 1489-1534). Paris: Louvre, Inv 5927 000PE024816. Ref. Gowing (1987: 153, col.); Joconde Website (1999). Joy (one of the Vices) plays a cylindrical duct-flute (probably a recorder).
• Assumption of the Virgin (1526-30), fresco, cupola ceiling, Antonio Allegri Correggio (ca 1489-1534). Detail. Refs. Carol Gerten-Jacson's Virtual Art Machine. Parma: Cathedral. Ref. Smyth (1997: front cover - col.) Angelic musicians play cylindrical pipes, fiddle and tambourine. Only one of the pipers uses a finger position suggestive of a recorder. Recorder-like instruments are used as design devices in frescoes on ceiling and nave aisles, some curved to fit their position in the designs. Notes by Anthony Rowland-Jones (pers. comm.)
• Leda and the Swan (c 1531-1532), oil on canvas, 152 x 191 cm, Antonio Allegri Correggio (ca 1489-1534). Berlin: Staatliche Museen zu Berlin, Gemaldegalerie. Ref. Anthony Rowland-Jones (pers. comm., 2001). Leda is playing in the stream with her maidens, and receives the embrace of Zeus (in the form of a swan). Its decidedly voluptuous treatment so incensed the pious zeal of Louis, son of the Regent at Paris, that he attacked it with a knife and cut off Leda's head. The present head therefore is not Correggio's but a restoration by Schlesingen. Three angel-musicians play rather softly drawn instruments (details unclear) which include lyre, cornett and a short ? duct-flute which is roughly cylindrical and quite fat, like the cherub playing it, right hand lowermost. Notes (in part) by Anthony Rowland-Jones (loc. cit.)

Cornelisz. van Amsterdam – see Jacob Cornelisz. van Oostsanen

Cornelius [Cornelio] Cort [ Kort or van Hoorn] – see Frans Floris de Vriendt

North Netherlandish engraver and draughtsman, active in Flanders and Italy; developed a bold and strongly modelled sculptural style of engraving, particularly successful in reproducing the Italianate figure compositions of Frans Floris (after whom he engraved more than 50 prints) and compositions by Maarten van Heemskerck, Andrea del Sarto, Rogier van der Weyden and others; born Hoorn, near Alkmaar (1533), died Rome (before 1578).

Pietro (Berretini) da Cortona

• The Seasons (1637-1640), Pietro da Cortona (1596-1669). Florence: Pitti Palace, Sala della Stufa. Ref. Lloyd (1979: 164, pl. 5 – col.) In a scene from The Seasons, a group of maidens are harvesting. One holds a pipe with a flared-bell, possibly a recorder, but the upper part of the instrument is not visible.
• Faustulus returns Romulus and Remus to Lorentia (1643), oil on canvas, 251 × 265 cm, Pietro da Cortone (1596-1669). Paris: Louvre, Inv. 111. Ref. Lallement & Devaux (1996: 241). Faustulus returns one of the children to their mother, Lorentia. The image includes the river Tiber and a wind instrument, possibly a recorder belonging to one of the herdsmen, lying at the foot of one of the children suckling at the she-wolf in the background.

Francesco del Cossa

• April: the Triumph of Venus (1470), fresco, Francesco del Cossa (1435-1477). Detail. Ferrara: Sala dei Mesi, Palazzo Schifanoia. Ref. Mirimonde (1977: 163, pl. 97 – b&w); Winternitz (1979: 49-50, pl. 6a – b&w); Moeck (1984: April - detail, col.); Moeck, Celle: Tibia – Musikbilder auf Postkarten, Series 2, Nr 4, Ed. Moeck Nr 11101 (col.); Rasmussen & Huene 1982: 31, b&w); Recorder Magazine 8(11): cover (1986); Rowland-Jones (1997b: 14, detail – b&w; 1999b: 4, fig. 2 – detail, b&w; 2002d); Hijmans (2005: 222). A complex allegorical scene in which two young women hold lutes and a third holds two alto flared-bell recorders. The symbolism of the instruments mirrors the scene of seduction enacted at their feet.
  
  "Venus presides over the month of April, arriving on a barge pulled by two swans; her husband Mars has armed himself in readiness for the battle season, but she has chained him up in obeisance to more important duties, for she stands for courtship, love, marriage, fecundity and the regeneration, the latter represented by the ubiquitous rabbits. The left bank charmingly shows the processes of courtship – meeting, talking together, and the first kiss.
  
  "A far more advanced stage of making love is seen at the centre of the circle of onlookers, or some just conversing as at a wedding reception. At least one lady is pregnant, with a lute, and there are rabbits galore. But the couple are about to be married, for the woman at the bottom right of the picture is making a coronet of myrtle for the bride. The man already wears one, betokening conjugal fidelity, and a myrtle bush thrives behind them both. Myrtle is sacred to Venus, and symbolises marriage for it is sweetly scented and 'like love it is ever blooming'. As part of the circle a man embraces two women, and alone of all the figures in this fresco he looks directly out at us, questioningly. One woman holds a lute – perhaps she regards marriage primarily in terms of raising a family. The other girl clutches two recorders, of the most up-to-date design, the right-hand one being slightly larger, and they are in close proximity to the leaves of the myrtle bush. Perhaps she gives her priority to harmony in marriage and love for her husband. The woman with the lute holds her left hand in a gesture meaning … what? Is it perhaps a warning?" (Anthony Rowland-Jones, pers. com, 2000).
• The Muse Euterpe wood, 105 × 38.7 cm, Francesco del Cossa (1435-1477). Budapest: Szépmúvészeti Muzeum, Inv. 1143. Ref. Sauerlandt (1920: 53 - b&w; as Angel with a Flute); Bridgeman Library of Art (2002: Image ID BAL 53504 - col.) Euterpe stands on a plinth in front of a hill playing a narrow, slightly tapering recorder with puffed cheeks. A companion piece by Cossa in the same museum depicts The Muse Melpomene (Inv. 1144).
• April: The Triumph of Apollo, Francesco del Cossa (1435-1477) and Cosimo Tura (1430-1495). Detail. Ferrara: Palazzo Schifanoia. Ref. Paris RIdIM (1999). Steered by a young woman, horses drag a highly decorated cart carrying Apollo (god of light, music, hunting, healing, poetry and prophecy) triumphant, holding his bow. Across the stream behind him is a crowd of naked children. In the background a group of women sing to an accompaniment of a lute. Beneath, in the underworld, Apollo variously plays his pipe to one of the poor souls who dwell there, heals a patient, and strives forth as a hunter with his bow and arrows, turning his back on darkness where two putti try desperately to prevent the rays of the sun from shining. The pipe is a long cylindrical recorder with a flared bell; the window/labium is shown and the lowermost finger-hole is offset.

Antonio Cossetti

• Intarsia with musical instruments (1744), Antonio Cossetti (ca 1674-1754). Bologna: S. Domenico, choir. Ref. Gasparo da Salò (?date: pl. 4); Paolo Biordi (pers. comm., 2000). A vielle is crosssed with a bow and a flared duct-flute (probably a recorder) upside down, the beak and window/labium clearly depicted, and the bell opening wide with a bead and thin walls.

Jan Cossiers [Coetsiers or Cotsiers] or possibly Simon Cossiers (early 17th century)

• Vanitas, Jan Cossiers (1600-1671) or possibly Simon Cossiers (early 17th century). Bremen: Kunsthalle, 597-1952/11. Ref. Munich RIdIM (1999: BMkh 26). A still-life with various objects scattered on a table including a decorated pitcher, a smoking pipe, a pack of playing cards, a skull, documents, a drawing, a sword, an hour-glass, a wooden container and a flared-bell, choke-bore soprano recorder only the lower body and foot of which are visible including the offset hole for the little finger of the lowermost hand. An infant held by an old woman in the print is playing a small cylindrical whistle of some kind.
• Man with a Recorder, painting, attributed to Jan Cossiers (1600-1671). Location unknown; formerly Sotheby's, London. Ref. Paris RIdIM (1999); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0001060 (2009 - b&w). Seated in a leather-straped chair a smiling man in a feathered hat and slashed jerkin holds an alto-sized flared-bell recorder, perfectly depicted.

Lorenzo Costa

• Assumption of the Virgin (late 1480s), Lorenzo Costa (ca 1460-1535). Bologna: Abbey of S. Maria Assunta, Monteveglio. The Virgin's feet are lifted up by two angels, while angel putto, in four groups, play music to her left and right, and a pair of angels hold a crown above her head. Instruments played by the musical angel-putti (three in each group): Bottom left, long trumpet lute, cymbals; Upper left, one not playing, one playing a small ? harp, the other a narrow cylindrical duct-flute (left hand lowermost); Lower right, long trumpet, viola da braccio and ? portataive organ; Upper right, one not playing, one a dulcimer, one a narrow cylindrical duct-flute (left hand lowermost). The duct-flutes are probably recorders, but no holes or window/labium are visible on the soprano, and only possibly on the alto. Notes by Anthony Rowland-Jones (pers. comm., 2000)
• Virgin and Child Enthroned with the Family of Giovanni II Bentivoglio, Lorenzo Costa (ca 1460-1535). Bologna: S. Giacomo Maggiore. Ref. Bologna e Romagna (1964: fig. 41); Rasmussen (1999b). "Putti perched on the top of the throne play lute and recorder (? cylindrical woodwind)" (Rasmussen, loc. cit.). Not seen. The Reign of the Muses or Isabella d'Este in the Garden of the Muses (ca 1510), Lorenzo Costa (ca 1460-1535). Paris: Louvre. Ref. Berenson (1952: vol. 1. pl. 127). A complex scene beside a river with many figures. Amongst them is an oldish man in the centre who holds what looks like a bass recorder (a shadow near the top could be the labium/window area).
• Concert, wood, 95.3 × 75.6 cm, attributed to Lorenzo Costa (ca 1460-1535). London: National Gallery. Ref. Haward (1945: 10, pl. 4 – col.); Hindley (1971: pl. 15 – col.); Web Gallery of Art (2001); Hijmans (2005: 222). Formerly attributed to Ercole Roberti (1430-1496). Depicts three singers – a woman and two men. One of the latter accompanies on the lute. On a table in front of them lie a small, cylindrical duct-flute with a kit (small fiddle) and a music book.
• Adoration of the Shepherds with Angels (ca 1499), attributed to Lorenzo Costa (ca 1460-1535) London: National Gallery 3105. Ref. Anthony Rowland-Jones (pers. comm. 1999); Englera (2005 - col.) "It teems with groups of musical angels, several of whom seem to by playing duct-flutes which could be recorders." Mary and one of the shepherds kneel before the Christ-child flanked by two standing shepherds. Above them, two angels blow long straight trumpets. The central group is surrounded by a frame of angel musicians who sing and play in groups of three. Amongst the many instruments are fiddles, lutes, psalteries, timbrels, rebecs, and any number of pipes. Some of the latter are shawms or trumpets, but others may represent duct-flutes (flageolets or recorders). A heavenly host surveys the scene from on high.
• Virgin and Child with Saints, Lorenzo Costa (ca 1460-1535). London: National Gallery, NG 1119. A shepherd gives a cylindrical duct-flute (flageolet or recorder) to the Virgin, probably as a gift for the Christ-child at whom he gazes.

Luis Pereira da Costa

• Decorative panel (1727), carved wood, Luis Pereira da Costa (18th century). Oporto: Cathedral, frontal panel in balcony across console ara of the organ. Ref. Azevedo (1972: 41 & pl. 8- b&w); Anthony Rowland-Jones (pers. comm., 2004). The organ case was completed in 1727. The panel is a long rectangle with an open book and three circular garlands in the centre, surrounded on both sides with musical instruments, all in bas-relief (wood, or plaster on wood), all in white. The instruments include horn, two trumpets, panpipes, ? flute (only the head end visible), and the head ends, side by side, of two late baroque-style alto recorders, but the rest of the recorders are occluded by the trophy-style arrangement. There is also a small duct-flute with four finger-holes, probably a French flageolet; and there are a number of unidentifiable wind instruments. Notes by Rowland-Jones (loc. cit.)

Adam de Coster

• Boy Playing a Recorder, oil on linen, 114 × 79 cm, Adam Coster (1586-1643). Würzburg: University Museum, Inv. F369 (K'331). Ref. Wagner (1986: 48, no. 78 – b&w); Paolo Biordi (pers. comm., 2001). A boy in a slashed jacket and a plumed hat plays a one-piece flared recorder right hand uppermost by candlelight reading from a mansucript that lies with a violin on the table before him.

D. Coster (early 18th century), ? French

• Frontispiece to Nouveau Recueil de Chansons Choisies (Tome Premier, Quatrieme Edition), published by Jean Neaulme (1735): Trophy of Musical Instruments, engraving, D. Coster (18th century). Venice: Levi Foundation Library. Ref. LP record cover: Hotteterre 'le Romain', Deuxième Livre de Pièces pour la Flute Travèrsière, Oeuvre V^e, Iakov 10 812 (1979); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). A garland of musical instruments including violin, syrinx (fipple kind), lute, trumpets, cornett, horn, flute and two three-piece baroque recorders, one complete and very clearly depicted, the other partly hidden under a sheet of music, only the foot and lower part of the centre-joint visible. There is also a flare (alight!), a faggot (bundle of sticks), an elaborate bow and arrow, and a goblet. Given that it includes a depiction of a late baroque recorder, this is unlikely to be the work of Netherlandish artist, printer and copperplate engraver Domenico Custos [Coster] (1560-1612).

Hendrick Coster

• Music Children in Candlelight (1659), 73 × 67 cm, Hendrick Coster (op. 1652-1659). Stockholm: Nationalmuseum. Ref. Bernt (1969, 1: 264); Munich RIdIM (1999); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). A boy sings with music; a little girl behind him plays a duct-flute (possibly a recorder, but lower half occluded).

Jean Anotine Cuenot [John Cuenot]

• Trophy of Musical Instruments (1753–1756), carved wood, Jean Antoine Cuenot (fl. 1744-1756, m. 1762) London: Victoria & Albert Museum, Gallery 58. Ref. Fitz-Gerald (1973: frontispiece, col. & pl. 39 - b&w). Originally designed for Norfolk House, 31 St James Square, London, which was demolished in 1938. The Music Room was fortunately saved and re-erected in the Victoria & Albert Museum. The initial desing may have been by Giovanni Battista Borra (1713-1720), the Piedmontese architect who spent a decade or so in England. All the carved woodwork in the Music Room appears to have been executed by Couenot. This trophy decorates a panel above a fireplace. It comprised a guitar, oboe, trumpet, pan-pipe, harp, flutes and the head of a baroque recorder, its characteristic beak seen in side-profile.

Jean Cousin II

• Landscape with Mythological Figure / Allegory of Spring, pen & brown ink, and violet wash, over a black chalk sketch, Jean Cousin II (ca 1522-ca 1594). St Petersberg: Hermitage. Ref. Exhibition, French Drawings and Paintings from the Hermitage: Poussin to Picasso, Hermitage Rooms, Somserset House London (2001-2002); Anthony Rowland-Jones (pers. comm., 2001). "At the centre a seated middle-aged man, like Virgil's Tityrus leaning against a tree (but here it is an oak), plays a cylindrical alto recorder, left hand lowermost, all fingers on. Nevertheless, an offset little finger hole is visible just before the instrument's very slight bell flare. A smudgy mark in the expected area could represent a window/labium. In the allegory the recorder is given prominance as other characters in a very crowded composition are looking at the player" (Rowland-Jones, loc. cit.)

Robert Couturier

• The Flute-player (ca 1960), sculpture, bronze with a brown patina, 55 × 11 × 11 cm, Robert Couturier (1905-). Location unknown: sold Paris Auctions-commissaires, 29 October 1990, by Drouot Richelieu. Ref. Gazzette H.D. 38 (1990: 88, lot. 97); Paris RIdIM (2000). A stylized figure of a man playing a cylindrical pipe, possibly a recorder.

David Cowles

• Cover: American Recorder 38(5): Untitled (1997), David Cowles (contemporary). A stylised recorder, plate and wine bottle.

Antoine Coypel (1661-1722), French

• Allegory of Music: Euterpe, engraving by Gérard Edelinck (1640-1707) after Antoine Coypel (1661-1722). Stockholm: Nationalmuseum, NMG Orn 6657:1-16; Cliché Giraudon L. 19063. Ref. Mirimonde (1975: fig. 21); Pottier (1992: 39, pl. XXV); Archiv Moeck; Paris RIdIM (1999); Sidén (2001: 27, fig. 6 - b&w). The original was a ceiling decoration in the Art Gallery of Charles Perrault (ca 1681/4), destroyed in 1685. A personification of Music plays the lyre, surrounded by children, one of whom plays the lute, another a turned baroque recorder with ivory beak, joints and foot.

Dirck (Petersz.) Crabeth

• St Paul (1543), stained glass window, studio of Dirck Crabeth (op. 1520-1574). Paris: Musée d'Arts Decoratifs. Ref. Anthony Rowland-Jones (pers. comm., 2004). One of two large windows with multiple rectangular panels, done in grisaille and silver stain (i.e. yellow) for a house in Leiden, illustrating the stories of Samuel and of Paul. The scenes are set within decorations of animals and young male putti, some with musical instruments. In the panel representing St Paul preaching in the synagogue on the nature of God, a near-naked young putto (without wings) holds two duct-flutes (probably recorders) in his left hand and, in his right hand, holds another to his mouth. The latter pipe is of tenor size. It has an offset little finger-hole and slight bell flare with a tuning hole in the bell end. The other pipes are held centrally, crossed, and are rather obscured by the young man's hand and arm, but are both of alto size without bell flare. One has curved over beak, seen from an angle underneath (no thumb-hole is visible, however). The other shows the lower body with three, perhaps four finger-holes in line; then, beyond the hand just enough of the head end to show the same beaked mouthpiece and a very evident window/labium. These pipes are very probably intended to be recorders. Notes by Rowland-Jones (loc. cit.)

Wouter Pietersz. Crabeth II (ca 1595-1644), Dutch

• Concert, 132 × 170 cm, Wouter Pietersz Crabeth II (ca 1594-1644). Paris: Guy Darrieutort. Ref. Nicolson (1979, 2: fig. 138); Griffioen (1988: 438-439). A man viewed in side profile plays a cylindical recorder, another plays a lute, and a young woman plays a guitar.
• Pastoral Scene, 87 × 70 cm, Wouter Pietersz Crabeth II (ca 1594-1644). Antwerp: Koninklijk Museum voor Schone Kunsten, Cat. 5. Ref. Kettering (1983: fig. 105); Griffioen (1988: 438-439 - b&w); Institute Royal du Patrimonie Artistique / Koninklijk Instituut voor hef Kunstpatrimonium (IRPA/KIK), Brussels (2007); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0001084 (2009 - b&w). A young shepherd plays a soprano-sized recorder to a shepherdess in a floral hat and with a lamb in her lap. The window/labium is visible, the thumb and fingers perfectly positioned for recorder playing, the little finger of the lowermost (right) hand posed above its hole.
• [Portrait of a Musician], 86 × 67 cm, Wouter Pietersz Crabeth II (ca 1594-1644). Location unknown: auctioned Keulen, Haarlem, 12-4 June 1980, No. 171. Ref. Slatkes in Simiolus 12 (1981-1982: 172, attributed to Reyer Janzoon. van Blommendael (op. 1662 - m. 1675); Hoyer (1992: 108, no. 26); Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003). A well dressed man in a plumed hat sits at a bench with an open music book before him holding an alto-sized recorder seen in side profile, the beak of which is metal-sheathed.

Joos van Craesbeeck [Craesbeke, Craesbeek]

• Gathering of Rhetoricians, Joos van Craesbeeck (? 1605/6 – 1654/61). Brussels: Royal Museum of Fine Arts, cat. 121, inv. 3462. Ref. Leppert (1977: 41, pl. XXXIV – b&w). Rhetoricians are assembled in a garden, possibly for a contest. Amongst the instruments are lutes, rebec, viol, virginals, and a recorder (Leppert, loc. cit).
• The Clarinet [sic.] Player, Joos van Craesbeeck (? 1605/6 – 1654/61). Private collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). Depicts a group of quite well dressed peasants in a small garden outside a cottage. A young woman sitting at a table plays a wave profile alto recorder (not a clarinet), right hand lowermost. All her fingers are on the instrument with the exception of the little fingers, but the characteristic offset lowermost finger-holes are clearly visible as are the small but clear window/labium and beak. A man sitting with her at the table leans on his elbow, listening intently.
• The Lute Concert (ca 1650), oil on panel, 30 × 23 cm, Joos van Craesbeeck (? 1605/6 – 1654/61). Vienna: Liechtenstein Museum, Inv.-No. GE476. Ref. Kräftner (2004: 127 - col.); Charles Rowland-Jones (pers. comm., 2007). Two seated women, one of them with her back turned, entertains a cavalier by playing the lute. An elderly couple appear to be singing along as best they can and encouraging the lutenist, but even so the graceless gallant being serenaded is already asleep at the table. On a plain wall behind is a small framed picture of an old, bearded man and, hanging on the wall to the right, is a soprano-sized duct-flute with a window/labium and perhaps six (or possibly seven) finger-holes, the lowermost doubled. It is very slightly outwardly conical and has a decorative ring at the very slightly flared bell-end. The instrument could have a crude symbolic purpose! The slumped cavalier hasn't even touched his glass full of wine. He certainly doesn't respond to the woman's lute-music.

Lucas Cranach, the Elder (original name possibly Lucas Müller or Sunder)

• Rest on the Flight to Egypt (1504), oil on wood, 69 × 51 cm, Lucas Cranach (1472-1553). Berlin: Picture Gallery. Ref. Schwarz (1967: pl. 3 – col.); Staatliche Museen Preußischer Kulturbesitz (1968: 35, pl. 12 – b&w); Klessmann (1971: 92-93, pl.-col.); Ember (1984: 20, fig. 4 – b&w). The Holy Family halt on the edge of a forest surrounded by putti and child angels, two of whom (a boy and a girl) hold small pipes (reed pipes or duct-flutes), briefly flared at the bell. The girl appears to be singing. In each case the mouthpiece of the pipe is unusual and may represent the window and labium of a recorder, but could be interpreted as the channel and reed of a chalumeau-like instrument.
• Rest on the Flight to Egypt (1509), woodcut, Lucas Cranach (1472-1553). Ref. Schade (1974: pl. 20, 21 & 42); Rowland-Jones (1999: 127, fig 1). The Holy Family halt beneath an oak tree, though their stay can hardly be restful due to the fact that there are no less than 23 hyperactive putti in attendance, six of them perched on a branch above them. Of the latter, three play cylindrical duct-flutes (probably recorders) whilst their companions sing from an open book. On another branch a particularly energetic putto blows a straight trumpet whilst jumping up and down and flapping his wings! Notes from Anthony Rowland-Jones (pers. comm.)
• The Mocking of Christ, painting, School of Lucas Cranach (1472-1553). Prague: Castle Museum. Ref. Rowland-Jones (1999: 128-129, fig. 4 – b&w); Exhibited Maastricht: Bonnefanten Museum (2001); Liesbeth van der Sluijs (pers. comm., 2001). A Roman soldier mocks Christ by putting a duct-flute (flageolet or recorder) in his lips. It is interesting to compare this and the shepherd's gift to the infant Christ in Costa's Virgin and Child with Saints (see above). Other tormentors blow a cow horn in one ear and bang a metal dish in the other, beat him with sticks, squirt him with an enormous syringe, pull faces at him.

Robert Crawford (contemporary), USA

• Untitled, Robert Crawford (contemporary). Ref. American Recorder 42(1), front cover-col. (2001). A woman plays a recorder in front of a window through which birds can be seen.

Louis Crépy (1680-1750) – see Jean-Antoine Watteau (1684-1721)

Benedetto Crespi [known as Bustino], Italian (17th century)

• Annunciation, oil on canvas, 265 × 155 cm, Benedetto Crespi, Italian (17th century). Italy: Collegiata Novara Borgomanero. Ref. Villa I Tatti ND619L6P582; Gregori (1996: 148, 280, n. 76 – b&w); Paolo Biordi (pers. comm., 2000). The angel Gabriel (as a woman!) addresses Mary; between them sits a small cat. Above the scene a band of angels play lutes, fiddle, harp, organetto, transverse flute, and an ambiguous pipe which may be a straight cornett or a small duct-flute (flageolet or recorder) of slender form with a slightly flared bell.

Daniele Crespi

• Grotesque Heads, oil on canvas, 39.8 × 56 cm, Daniele Crespi (1597/1600-1630). Paris: Galerie Canesso (March 2001); Constance Scholten (pers. comm., 2001); Apollo (2001, 93: 61, no. 469 - col.); Recorder Magazine 24(2): front cover (2004 - col.) Depicts three grotesque peasants, one of whom plays a small, flared-bell recorder. This painting is currently for sale.

Giuseppe Maria Crespi [lo Spagnuolo]

• Musicians (1710-1715), oil on canvas, 100.8 × 50.1 cm, Giuseppe Maria Crespi (1665-1747). London: National Gallery, L882 (on loan from Sir Denis Mahon); National Gallery (2004 - col.) One of three peasants, possibly shepherds, plays a lyre, his back to us; another plays a triangle (with rings); a third plays a flared bell recorder of tenor size the windway/labium of which is clearly depicted, but the little finger of the lowermost (right) hand is kinked away from the instrument. Behind them are soldiers and riders.
• Boy with a Recorder, oil on canvas, 61.9 × 49.4 cm, follower of Giuseppe Maria Crespi (1665-1747). Buscott Park (Berkshire): The Faringdon Collection, Cat. No. 61. Ref. Merriman (1980: No. 212); Spike (1986: 32, fig. 21); The Faringdon Collection (2001). A youth sitting at a table leans on his elbow, his right hand holding a recorder (only the head of which is visible). His other hand turns a page of music before him. Engraved By Pietro Monaco for Algarotti, as Daviddo fuggitivo (see below). The pendant to this picture, of a Man Wearing a Helmet (thus making a pair, of the Active and Contemplative Life), is in the William Rockhill Nelson Gallery of Art, Kansas City (Merriman, loc. cit, No. 211).
• Davidde Fuggitivo engraving, 44.7 × 32.4 cm, by Pietro Monaco (1707-1772), after Giuseppe Maria Crespi (1665-1747). Venice: Private Collection. Ref. Wül (1996: 6, fig. 5). Said to be after an original oil painting by Crespi, assumed lost. However, the composition is identical to a painting auctioned by Sotheby's in 1977 attributed to Giovanni Battista Piazzetta (1682-1754) and to what may be a copy auctioned by Sotheby’s, in 1964, bought by Lord Faringdon for the Faringdon Trustees (see above). A youth (David) with curly hair leans on his right elbow in the hand of which he grasps a flared-bell recorder, the curved windway, window/labium and bottom five finger-holes (the last offset) are clearly depicted. In his left hand he holds a crumpled manuscript. A caption reads:

  Et declinavit David a facie eius (nempe Saul persequentis)

Ortensio Crespi

• St Cecilia (ca 1630), oil on canvas, 56 × 36 cm, Ortensio Crespi (1578-1631). Breschia: Pinacoteca Tosio Martinengo, Inv. No. 292. Ref. Pinacoteca Civica "Tosio, Martinengo" (1927: 89); Dell'Acqua (1966, 1: 691); Paolo Biordi (pers. comm., 2001). St Cecilia stands beside a chamber organ. At her feet lie a lute, a viol, three sackbuts, a cornett and a soprano recorder. The latter has a long beaked mouthpiece, a clearly depicted window/labium, and seven finger-holes (the lowest possibly offset), and is shortly flared at the bell. Notes by Anthony Rowland-Jones (pers. comm.)

Domenico Cresti ['il Cresti', 'il Passignano', 'il Passignani' or 'Passa Ognuno']

• [Women and Putti], painted tondo, Domenico Cresti (ca 1560 - ca 1636). Florence: Palazzo Pitti, Sala della Prudenza (Royal Appartments). Ref. Anthony Rowland-Jones (pers. comm., 2002). The putti play viola and triangle. One woman holds two flutes or recorders, extending outwards (one crossing the frame). Each has what could be a window/labium or possibly a not quite circular flute embouchure hole. The instruments are cylindrical, alto-sized, with three finger-holes showing before the woman's hand obscures the others. They have little or no beak, although a beak would hardly show from this face-on angle. A seated girl, and a girl with a violin, nearby, wear coronets of small flowers which could be myrtle, suggesting the harmony/marriage symbolism often associated with two recorders.

Donato Creti

• Glorification of St Bernard of Sienna (1710), canvas, 78 × 95 cm (oval), Donato Creti (1671-1749). Paris: Louvre. Ref. Lallement & Devaux (1996: 241). Depicts St Bernard of Sienna in paradise, Chirst, Mary, St Francis of Assisi, and musical angels, including a pipe (recorder or oboe). Not seen.
• Jacob's Ladder, oil on canvas, 308 × 197 cm, Donato Creti (1671-1749). Rome: Villa Corsini, Picture Gallery, Inv. 79. Ref. Anthony Rowland-Jones (pers. comm., 2002). At bottom right Jacob sleeps and dreams. At mid-left an angel, who looks down towards another angel playing a perfectly drawn lute, holds a little bit away from his mouth, an unmistakeably shaped baroque alto recorder (even though no window/labium or finger-holes are visible). The player's right hand is held uppermost with the third and fourth fingers lifted; the fingers of the left hand are similarly disposed. There are no other instruments.
• Lady with Recorder and Panpipes [Euterpe] (18th-century), ? Donatino Creti (1671-1749). Private Collection: Frans Brüggen. Ref. Early Music 7(3): front cover - col. (1979). A young woman with flowers in her hair holds a set of panpipes and a turned, baroque recorder only the head of which is visible.
• The Muse Euterpe, oil on canvas, oval, Donatino Creti (1671-1749). Ref. Gabrius Data Bank (2000 - col.) A young woman with flowers in her hair holds a set of panpipes and a turned, baroque recorder only the head of which is visible. This seems identical (though of decidedly inferior quality) to Lady with Recorder and Panpipes in the private collection of Frans Brüggen, thought hitherto to be Anonymous.
• Dance of the Nymphs (ca 1724), Donato Creti(1671-1749). Rome: Museo Nazionale di Palazzo Venezia. In the foreground a young man plays a lute and a boy fingers a narrowly conical pipe (possibly a recorder) watched by a young woman who lies on the ground with her back towards us. In an ampitheatre in the centre of the scene nymphs dance in a circle to the sound of a viol played by a young man sitting at the top of some rough hewn steps. A second lutenist lies watching the dancers. In the background are other men and women provide an audience silhouetted against the surrounding hills.

Renato Cristiano

• La Suonatrice di Flauto, Renato Cristiano. Rome: Fondazione Marino Piazzola. Ref. Web-site: Fondazione Marino Piazzola. A young boy kneeling plays a slender cylindrical pipe, presumably a duct-flute of some kind, though no details can be seen.
• Fauno, Renato Cristiano. Rome: Fondazione Marino Piazzola. Ref. Web-site: Fondazione Marino Piazzola. A technicoloured faun seated plays a slender cylindrical pipe, presumably a duct-flute of some kind, though no details can be seen.
• Fauni suonatori, Renato Cristiano. Rome: Fondazione Marino Piazzola. Ref. Web-site: Fondazione Marino Piazzola. Three fauns standing play slender cylindrical pipes, presumably duct-flutes of some kind, though no details can be seen.

Petrus II Cristus (1479- p. 1530), Flemish

• Virgin and Child, attributed to Petrus II Cristus (1479- p. 1530). Spain: Private collection (1958). Ref. L'art flamande dans les collections espagnoles (1958: 59, no. 35); Rasmussen (1999b). "In a landscape, with a view of Granada in the background. Angels play lute (left) and recorder (right)" (Rasmussen, loc. cit.)

Jean Crokaert (18th century), Dutch

• Legend of St Rombout (1774), Jean Crokaert (17th century). Mechelen: Sint Romboutskerk. Ref. Rijksbureau voor Kunsthistorische Documentatie 34278 (2001); Anthony Rowland-Jones (pers. comm., 2001). A boy plays an alto or tenor pipe (probably a recorder), the details of which are unclear apart from the beaked mouthpiece. This may be the only known work by Crokaert.

Jean-Baptiste de Croziers (late 17th century), French

• Les Saints innocents ressucités par l'enfant Jesus (1654), painting on wood, Jean-Baptiste de Croziers (late 17th century). Aix-en-Provence: Musé des Tapisseries. Ref. Pottier (1992: 70, pl. LVI – b&w); Pottier (1995: 141, pl. 17 - b&w); Archiv Moeck. One of the infants holds a small, one-piece recorder; one beside him plays a guitar, others sing and play the fiddle. Some offer garlands; a sacrificed lamb lies at their feet.

Giovanni Antonio Cucchi (1690-1771), Italian

• Bacchic Scene, black chalk on yellowed white paper, 17.9 × 28 cm, Giovanni Antonio Cucchi (1690-1771). Milan: Biblioteca Ambrosiana, Accession No.: Cod F 233 Inf n 459. Ref. Barigozzi Brini & Bossaglia (1973: 333, cat. no. 24 & fig. 24); Biblioteca Ambrosiana (1999). "Bacchus sits collapsed upon a draped rock, in the center. His left leg rests upon a goat, which is fed by a reclining infant. His left arm rests on a vat filled with grapes, and his head is tilted back. On the left sits a woman, her head turned to the right, playing cymbals. Pan stands, in the center background, and holds a flute or recorder. In the right background are trees and shrubs" (Biblioteca Ambrosiana (loc. cit.)

Pierre Culliford – see Peyo

Francesco Currai (1570-1661), Italian (Florentine)

• Adoration of the Shepherds (1590-1505), Francesco Currai (1570-1661). Prato: Cathedral Museum. Ref. Anthony Rowland-Jones (pers. comm., 2002). At the top of this painting, angels sing and play viol and harp. The older of two shepherds plays a bagpipe; the younger has a long cylindrical or slightly conical pipe with a tiny bell flare which could be a tenor recorder. The latter is played left-hand lowermost and with the fingers of both hands down, except the lower little finger which is lifted slightly in a poised position. The mouthpiece is beaked. The player's cheeks and lips are relaxed. However, the instrument is in shadow and no further details are visible.

Aelbert Jacobsz(oon) Cuyp (also spelled Cuijp)

• Countryside beside the Rhine: Cows in Pasture (ca 1650), oil on canvas, 170 × 229 cm, Aelbert Cuyp (1620-1691). Paris: Louvre, Inv. 1190. Ref. Joconde Website (1999); Anthony Rowland-Jones (pers. comm., 2004). A shepherd sits on a rock playing his slender, slightly flaredl tenor- or alto-sized recorder, watched by two children and a number of cows. On a nearby hill stand several more shepherds and some sheep. In the distance, across the river, is the town of Dordrecht. All the recorder player's fingers are down except for the little finger of the lower (right) hand close to which can be seen a flinger-hole offset to the right.
• [Title unknown], black chalk, Aelbert Cuyp (1620-1691). Berlin: Kupferstichkabinett (West). Ref. Munich RIdIM (1999: Bkk 137). A young man in a brimmed hat sits on the ground playing a cylindrical recorder with a very slightly flared bell. The hole for the little finger of the lowermost (right) hand is clearly visible. Another similarly dressed man (possibly his teacher) conducts with a roll of paper.
• Piping Shepherds (ca 1643-1644), oil on canvas, 90.8 × 119.4 cm, studio of Aelbert Cuyp (1620-1691). New York: Metropolitan Museum of Art, Inv. 25.110.15. Ref. Reiss (1975: 86, pl. 51); Griffioen (1988: 438-439); Baldassare (?date); Constance Olds (via Amanda Pond, pers. comm. 2002 - b&w). Watched by their beasts and a small dog, two shepherds amuse themselves on a knoll at the edge of a river or lake. One, seated, plays the bagpipes; the other, standing, plays a flared-bell recorder of alto size. The recorder player's fingers and thumb are in their correct positions, including the little finger of the lowermost (right) hand beneath which the offset finger-hole is just visible. The right-hand part of this painting is identical to Cuyp's Piping Herdsmen, Gabrius Data Bank (2001 - see below), although in the latter a metal ewer replaces the dog.
• Piping Herdsmen, oil on canvas, Aelbert Cuyp (1620-1691). Ref. Gabrius Data Bank (2001 - b&w.) A shepherd sits beneath a tree playing his bagpipes; another stands beside him playing an alto-sized pipe (probably a recorder) with a flared bell. A ewer and a stick and bundle before them. Their cattle provide an audience. Auctioned 4 April 1990, sold (Gabrius, loc. cit.) This is identical to the right-hand part of Cuyp's Piping Shepherds, Metropolitan Museum of Art, New York (see above), although in the latter there is a dog in place of the ewer.
• Portrait of Children in Pastoral Dress (ca 1645), 104 × 132 cm, attributed to Aelbert Cuyp (ca 1620-1691). Mountauban: Musée des Beaux-Arts, Inv. 885.10. Ref. Kettering (1983: fig. 80); Reiss (1975: 85, pl. 50); Griffioen (1988: 438-439); Anthony Rowland-Jones (2008, pers. comm.) A boy wearing a cap and a narrow ruff plays a cylindrical alto recorder to his siblings who sit beneath a tree with some lambs. In the background are shepherds with their sheep, and the buildings of a village. The thumb of the recorder player is bent as for recorder playing and his cheeks are not inflated.
• Piping Shepherd, near Leiden (ca 1645/50), 65 × 88 cm, studio of Aelbert Cuyp (1620-1691). Location unknown. Ref. Reiss (1975: 94, pl. 59); Griffioen (1988: 438-439). Watched by a shepherdess who stands behind him, a shepherd sits on a knoll in the shade of a tree playing an alto-sized recorder with a slightly flared bell. His fingers are placed perfectly for recorder-playing and the little finger of his lowermost (right) hand is crooked as if to cover its hole. A man on horseback rides along the road nearby, followed by a man with a pole over his arm; peasants are at work in the fields behind.
• Landscape with Piping Herdsman (ca 1645-1650), Aelbert Cuyp (1620-1691). Dordrecht: Museum (City Art Gallery). Ref. Postcard, Dordrechts Museum (2001 - col.); Anthony Rowland-Jones (pers. comm., 2001). A shepherd sits on a knoll playing his alto recorder to two cows sheltered beneath an overhanging rock. He plays right-hand lowermost with his lowermost little finger beside beside an offset hole. All other fingers are covering their holes. The beak and window/labium are clearly depicted, though the latter is rather low set. The instrument has a gentle, fairly slight bell-flare.

Benjamin Gerritsz Cuyp

• Peasants in a Tavern, oil on oak panel, 53 × 76 cm, Benjamin Gerritsz Cuyp (1612-1652). Budapest: Szépmüvészeti Múzeum, #3825. Ref. Mojzer (1967: pl. 20); Griffioen (1988: 438-439); Web Gallery of Art (2003 - col.) A group of carousing peasants are entertained by two of their number who play violin and a pipe which Griffioen lists as a soprano recorder. Identical to the Sibiu version, but the pipe is stouter and more crudely drawn.
• Peasants in a Tavern, oil on oak panel, 50 × 75 cm, Benjamin Gerritsz Cuyp (1612-1652). Sibiu/Hermannstadt (Romania): Muzeul National Brukenthal. Ref. Website: CODART (2008 - col.) A group of carousing peasants are entertained by two of their number who play violin and a pipe. Identical to the Budapest version (see above), but the pipe is much more slender and cylindrical.
• Peasants in a Tavern (c. 1635, oil on panel, 46.6 × 68 cm, Benjamin Gerritsz Cuyp (1612-1652). Location unknown: offered for sale by Dr A. Wieg Fine Art, Amsterdam (pre-2009). Ref. Constance Scholten (pers. com., 2009). A peasant sits on a box playing a violin. Opposite him another seated at a table holds a slender, cylindrical duct-flute (possibly a recorder). Beside him a third peasant sings. Two more listen to the music. A couple converse in a corner of the room. A hooded figure sits in front of the fireplace with his back to the others.

Jacob Gerritsz Cuyp (also spelled Cuijp)

• Pastoral Scene, 110 × 166 cm, Jacob Gerritsz Cuyp (1594-1651). Montauban: Ingres Museum. Ref. Kettering (1983: fig. 118); Reiss (1975: 82, pl. 47); Griffioen (1988: 438-439). Surrounded by their beasts and watched by a dog, a shepherd with his back to us plays a s soprano recorder to a shepherdess. His thumb and fingers are in perfect recorder-playing position, right hand lowermost, and the thumb of the uppermost hand bent to sound the octave.

© Copyright 1996-2009 N.S. Lander
Webmaster: Nicholas S. Lander